20ABSTRACT

BRUSHES
PLUS: STOCK PHOTOS & MORE
ISSUE
ISSUE
61 49
47
Typographic portraits | Digital colouring | Master layer styles | Hold your own exhibition | Global designs | Interview: Mi Studio

LAYER STYLE
SECRETS
Create vibrant lighting effects
with these powerful options

GLOBAL DESIGNS
Photoshop artists from around the
www.advancedphotoshop.co.uk

world share their top secrets

DIGITAL COLOURING
Learn how the experts turn simple line
drawings into a stunning work of art
OF
PAGEISQUES,
TECHN
ISSUE 61 £5.99
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ISSN 1748-7277

TIPS A VICE
61

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001_AVP_61_CoverWeek4.indd 1 18/8/09 17:05:29

 Cover

Cover image
Our cover image this month was inspired by some
fantastic typographic portraits that have been done
by professional artists from around the world. We
wanted to learn how it was done, so AP’s designer
Stacey knuckled down and experimented in Imageer:
Photoshop to create this fantastic cover image. Learn STACEY GROVE
how she did it in her debut tutorial for the magazine
starting on page 44. You can use any portrait image,
so why not give it a go? “Learn how to do this in the
/ www.advancedphotoshop.co.uk
tutorial starting on page 44”

3
Advanced Photoshop

003_AVP_61_CoverImage.indd 3 18/8/09 17:18:45

 Editorial
Imagine Publishing Ltd
Richmond House, 33 Richmond Hill
Bournemouth, Dorset, BH2 6EZ
☎ +44 (0) 1202 586200
Web: www.imagine-publishing.co.uk
www.advancedphotoshop.co.uk
www.advancedphotoshop.co.uk/photoshopfaceoff
www.photoshopdaily.co.uk

Welcome to Magazine team

l m o a rie a es .

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Editor Julie Easton

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☎ 01202 586243

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Editor in Chief Jo Cole

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During the summer months our

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Senior Staff Writer Adam Smith

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Designer Stacey Grove

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thoughts turn to travel, which is

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Senior Sub Editor Colleen Johnson

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what has inspired our main feature Sub Editor Sam Robson

v
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Group Art Editor Lora Barnes
this month. We’ve taken a look at the Head of Design Ross Andrews
emerging art trends from around the Contributors
Debbi Allen, David Cousens, Pete Harrison, Natalie Johnson,

globe, so prepare to be inspired April Madden, Kirk Nelson, Rob Shields, Sarah Slee and
Amy Squibb

enough to add a cultural flavour to Advertising

Digital or printed media packs are available on request.

your own work! Commercial Director Ross Webster

s
hi
☎ 01202 586418

r
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f m n a ou
Whatever your personal style of art, we have a tutorial

c er
ross.webster@imagine-publishing.co.uk

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to suit this month. Our Masterclass looks at the art of
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tu rial sho rtra s th hop

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colouring lines, which is a big role in the comic-book

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james.hanslip@imagine-publishing.co.uk

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to d o te os
pp e la ap r-i or

tu r an ic p rea hot
BB

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industry. First, we take a look at the pros in the industry, Advertising Manager Hang Deretz
ha th gr ito it
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☎ 01202 586442
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then we have a four-page tutorial packed with
du e p o m

po St an hang.deretz@imagine-publishing.co.uk
in ov g’s n or

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advice for colouring lines yourself. The other

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Advertising Sales Executive Stuart McBride

an u lish p a i is

m ey i
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sh Pub sho ebb

☎ 01202 586438
three tutorials look at typographic portraits,
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stuart.mcbride@imagine-publishing.co.uk
St
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dynamic lighting effects and creating your Cover disc

Ph

Interactive Media Manager Lee Groombridge

own miniature world.
e

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When you’re done, why not send in your work for Senior Multimedia Editor Steve Litton
apxtrahelp@imagine-publishing.co.uk
our Readers’ Gallery (page 90)? We showcase the five
International
best entries each month – great exposure and a prize for Advanced Photoshop is available for licensing. Contact the
International department to discuss partnership opportunities.
our top pick. It could be you!
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If you want to take your art to the next level, then our ☎ +44 (0) 1202 586401
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licensing@imagine-publishing.co.uk
packed Industry section is for you. This month, we take an
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The next issue of Advanced ISSN 1748-7277

Photoshop goes on sale 6 October 2009

4
Advanced Photoshop TORS
004_AVP_61_EdIntro.indd 4 18/8/09 17:21:54
 THE ADVANCED PHOTOSHOP PODCAST
www.imaginepodcasts.com
You can now listen to Advanced Photoshop on the move with our new
podcasts, available from the above website. Each month, we’ll be bringing
you entertaining chat with Photoshop professionals to inspire you to expand
your own artwork. We’ll be bringing you a new podcast every month, so
make sure to bookmark the Imagine Podcasts homepage.

ISSUE #61

inside... 36
Digital colouring
made easy
COMMUNITY
The latest news, website images and readers’
thoughts from our mailbox and forum
08
News 08
Mailbox 14
On the web 16
Web challenge winners 18

INSIGHT 42
The best digital artists around
Anti 42
Adam Spizak 48
THE COVER Phil Dunne 62
Our fantastic typographic portrait cover was created
by AP’s own designer, Stacey Grove. Find out how she
did it in her debut tutorial on page 44
HELP 64
Tips, techniques and problems solved
Helpdesk 64

INDUSTRY SECTION 70
Essential advice for becoming a pro digital artist
Interview 70
Feature: Hold your own exhibition 72
Uni focus: Illustration 78
Career guide: Comic artist 82
TURN TO PAGE 12 FOR DETAILS
84 90
The latest hardware and
software reviewed in detail
Our pick of the best reader
submissions this month THIS MONTH’S CD 98
Superb stock art, project files and more!
CD guide 98

6
Advanced Photoshop

006-007_AVP_61_Contents.indd 6 20/8/09 17:41:28

 22
We interview
Mi studio

cr ib e
ub s
S now8!(UK/ )
e6 (US
e pag e 61
Se or pag
)
ROW
© Mi

FEATURES/REGULAR TECHNIQUES
Insightful interviews and in-depth articles Essential guides to professional Photoshop skills

INTERVIEW: MI STUDIO 22 COLOURING LINE ART 36

The multidisciplinary studio talks architecture in Photoshop In-depth guide and advice from the pros for colouring comic lines

GLOBAL DESIGNS 28 TYPOGRAPHIC PORTRAITS 44

Emerging art styles from around the world by the artists creating them Re-create our stunning cover image with any portrait photo

SUBSCRIPTIONS 68 DRAMATIC LIGHTING 50

Find out about our latest subscription prices and offers here Use layer styles and blending modes to create stunning results

RESOURCES 84 CREATING A MINIATURE WORLD 56

The latest hardware, software and books reviewed Master the art of blending illustrative elements with stock photos

READERS’ GALLERY 90 WIN! READERS’ CHALLENGE 60

The very best submissions from our readers this month Create your own miniature world and win a great prize from Go Media

7
Advanced Photoshop

006-007_AVP_61_Contents.indd 7 20/8/09 17:42:16

 Community The latest creative news from around the world
3D technology made accessible
FUJIFILM W1: The 3D camera features a dual-lens
and sensor system that enables it to take 3D images
FINEPIX V1: The FinePix V1 viewer is a first of its
kind and opens up 3D viewing to the consumer mass
market, with no need for special glasses
Fujifilm has unveiled its latest innovative imaging solution – the
world’s first 3D camera that requires no special glasses.
Alongside the new REAL 3D W1 camera comes a photo viewer
and 3D prints. This trio of options will allow artists to take, view
and share their 3D photographs and, eventually, will impact on
the way we edit our images, too.
Announced at Photokina almost a year ago, the system was
described by Fujifilm at the time as ‘the next imaging frontier’.
Shooting two images simultaneously via the dual-lens system,
the camera, viewer and prints are the first system to offer 3D
without the use of special 3D glasses.
The camera, which will cost around the £600 mark, capitalises
on Fujifilm’s heritage in the photography market and
incorporates enough technology to ensure that this system
appeals to users other than gadgeteers. The lenses are Fujinon
glass, renowned for their quality rendering, the two CCD sensors
ensure each image has exceptional focus, exposure and colour,
while the REAL Photo Processor 3D ensures the two images
blend into a single symmetrical image for both stills and movies.
• Pg 08......................News
• Pg 14 .................Mailbox www.fujifilm.com
• Pg 16 .................Website
8
Advanced Photoshop
008-010_AVP_61_News.indd 8
2D shooting is still possible with the W1 as well, so you won’t
need to invest in two cameras, and the lens is able to shoot
telephoto and wide, offering a 3x optical zoom. All of this
ensures that the W1 steps out of the world of needless gadget
and into the realms of must-have shooter.
Accompanying the W1 is the FinePix REAL 3D V1 viewer, an
eight-inch picture viewer that shows off your 3D images, again
without the need for 3D eyewear. Just insert the memory card
and go!
Finally, and maybe most importantly for digital artists, you
can now print your images in 3D with the help of Fujifilm’s
lenticular sheets. “Fujifilm will be launching a print service to the
purchasers of the 3D camera as a direct service because of the
complexity of the print system,” explains Adrian Clarke, director
of Digital Imaging. “While volume from the uptake of 3D camera
users is so small, it doesn’t make sense to commercialise the
print system yet. Once Fujifilm can provide a sustainable market
demand for 3D prints and other services, the company will be
able to consider print production devices for the wider
processing industry.”
Available from September 2009 in the UK, the 3D system from
Fujifilm is certainly a first of its kind and will certainly continue to
make waves for many years to come. To find out more about the
system, read our exclusive interview with Theo Georghiades,
business manager, Digital Products, Fujifilm, on page 10.
18/8/09 17:30:41
 Pocket-sized art
Regular AP contributor Pete Harrison has announced
News
bites
the launch of a new line-up of products via his
website, http://funkrush.bigcartel.com/.
http://funkrush.bigcartel.com/
Among the new offerings are two new T-shirts and
a pack of playing cards, which feature the artwork
from 36 talented designers from the Black Rock
Collective. Priced at £30, the deck might seem a little
on the costly side, but what you actually get is 54
PODCAST
Check out AP’s
pocket-sized pieces of artwork that you can either new podcasts,
play with or simply look at while you while away the which are online
hours at the airport, on that train or on the long now! Found via
winter nights at home. www.advanced
Beautifully boxed, each design is diverse and photoshop.co.uk/
PIECES OF
ART: Each of podcasts.php, the
desirable and well worth the £30 outlay. cards is illus
trated beautif the 54
ully w first podcast features an exclusive
unique works ith
of art interview with Stjepan Sejic and the
second is an extended talk with
Michael Zimmerman, following last
HOUSE OF CARDS: Costing
http://funkrush.bigcartel.com/ £30, the price will be dropped to month’s magazine interview. Keep an
£25 in the near future according eye on the site for more to come.
to Pete Harrison

THEPRINTSPACE’S
NEW LOOK
Using art to change the world
Here at AP, we’ve long been fans of
theprintspace, a cheap way to
Artwise challenged produce quality output, and now the
Using their art to change the world, London-based studio has launched a
to com e up with a reimagining
British artists and designers new website to make them even
of the old WWF pand a colle cting tins.
easier to use. Check out www.
s of climate
The project, aimed at raising awarenes theprintspace.co.uk.
nam ed
change and of the natural world, was
origi nal work s of art created
Pandamonium and featured
GOLD PANDA onm ent toda y. The piece s will then be
to reflect the envir
(LEFT): Gold Panda ’s environmental
by Mark Titchner auctioned to raise funds for the WWF
e.
© KULBIR THANDI/ conservation work all over the glob
WWF-UK

“Pieces vary in style

and include sculptural
works in a range of QUALITY STOCK
media, shape and size”
iStockphoto.com has released a new
high-end range of quality stock
images, perfect for professional
s over 120 of the projects. Each photo in the new Vetta
The Pandamonium collection comprise
work of artists collection has been hand-selected
WHITE PANDAS original panda units and features the
, Sir Paul Smith, Jason from iStock Exclusive photographers
(ABOVE): White including Peter Blake, Tracey Emin by the experienced inspection team.
Pandas by Rachel ed Visua l Artists). Pieces vary
Whiteread, Bruges, TROIKA and UVA (Unit Prices start at £25 up to £52. See
de sculptural work s in a huge range of
© KULBIR THANDI/ in style and inclu www.istockphoto.com/vetta.
o art, collage, kinetic
WWF-UK media, shape and size, including vide
art and drawing.
idges on 4
Pandamonium was unveiled at Selfr
September 2009 .

monium
www.wwf.org.uk/panda

9
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008-010_AVP_61_News.indd 9 18/8/09 17:32:27

 Community
Alien Skin releases the Photo Bundle
In the news:
Q&A
Theo
Georghiades
We speak to the business
manager of Digital
Products at Fujifilm…
Q: HOW LONG HAS
FUJIFILM’S 3D TECHNOLOGY
BEEN IN DEVELOPMENT?
A: Fujifilm’s 3D imaging technology
photo must-haves, including Blow Up, Bokeh, Exposure,
has been in development since
Image Doctor and Snap Art. Priced for the professional end
autumn 2007. The concept of 3D
of the market, the new set is available for $595, or $450 if
photography was introduced to the
you already own one of the bundle’s products.
world at Photokina 2008, and now we
have launched the world’s first digital
camera that can shoot and view 3D
stills and movies without special
glasses: the FinePix REAL 3D W1.
Q: DO YOU FORESEE
FUJIFILM INCORPORATING
THE TECHNOLOGY INTO
MORE PRODUCTS?
A: We will be introducing more 3D
products to the marketplace in the
years to come. By combining 2D and
3D image technology effectively, we
will be able to provide unique and
valuable products to consumers with
varied interests.
Q: CAN YOU GIVE US A
BRIEF EXPLANATION OF
HOW THE 3D TECHNOLOGY
WORKS IN THE W1?
A: Our camera has two lenses and two
10MP CCD sensors. Think of the lenses
as a pair of human eyes – one eye
records right-hand side detail and the
other records left-hand side detail.
The brain processes and blends the
images together, giving us perfect
vision and perspective of distance.
The 3D camera works in the same
way: two images are captured and
then merged together using special
3D image-processing technology,
resulting in a 3D image that can be
played back via the camera’s 2.8-inch
LCD screen, the FinePix V1 3D photo
frame or via a special 3D prints).
Find out more at www.fujifilm.com
10
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008-010_AVP_61_News.indd 10
IN A BUNDLE:
Featuring all
of the best tools for
turning your
photos into works
of art
Expand your
creativity this
summer with the
new Photo
Bundle of
Photoshop plug-
ins from Alien
Skin Software.
The latest
release includes
all the latest
versions of the
Projector-camera hybrid revealed
COOLPIX S1000PJ (RIGHT): The
market can revolutionise the way
compact digital camera
we share images and videos,
using personal projection
BACK PLATE: The camera also
viewing-angle TFT LCD monitor
boasts a 2.7-inch wide
and high ISO 6400 sensitivity
Compact camera
manufacturers
compete to boast
the newest
technologies, and
with the recent
introduction of
Fujifilm’s 3D
capabilities, we thought we’d alrea
dy seen this year’s big
innovation. However, Nikon has
revealed the COOLPIX
S1000PJ, the first ever camera with
an on-board projector.
Playing back your images to frien
ds, family or potential
clients at the touch of the button
will no doubt appeal to
any jobbing artist, and the fact that
this camera also
houses a 12MP sensor and a 5x opti
cal zoom means that
it’s no one-trick pony.
The projector boasts the ability
to display images on a
flat surface at up to 40 inches from
over six feet away, and
the camera is also no bigger than
a normal compact so
www.nikon.com
With these bundled apps, you usually find one or two of
the plug-ins are a little gimmicky and superfluous, but this
doesn’t seem to be the case with the Photo Bundle from
Alien Skin Software. The Blow Up plug-in enlarges your
images but retains the sharpness and detail, while Bokeh is
a creative’s favourite plug-in, as it adds effects like aperture
and depth of field that you can usually only get with
expensive lenses.
Next up is the Exposure plug-in, which simulates over
300 film stocks, while Image Doctor provides all the tools
you need for simple photo restoration, cleanup and
manipulations. Finally, Snap Art allows users to add paper
textures, brush effects and more to their photos with just
one click.
Discover more about this and the rest of Alien Skin’s
line-up via www.alienskin.com.
www.alienskin.com
the S1000PJ can fit into your pocket
and be easily
carried around.
Mark Pekelharing, product line man
ager for Consumer
Products at Nikon Europe BV, expla
ins: “The launch of our
unique COOLPIX projector camera
is exciting for gadget
and photo lovers everywhere – and
another first for Nikon
with a compact digital camera that
can project images. It’s
packed with everything you need to
take amazing photos
easily, as well as to show your pictu
res: a great screen and
amazing projector. Sharing photos
and videos has never
been so easy – or so fun.”
However, there is a downside and this
comes with the
price tag, which currently sits around
the £400 mark. If the
projector element is a little too niche
for your needs, then
many compacts offer similar specs
for less of an outlay.
We’ll be interested in getting our hand
s on this camera
to see if it really is worth the money.
20/8/09 19:47:51
 Community
Mailbox
Do you have a question about the magazine? Email your
thoughts to advancedpshop@imagine-publishing.co.uk or
visit www.advancedphotoshop.co.uk/forum
SUBJECT: Photoreal tutorials
FROM: Ryan Crewe
I just wanted to say I really enjoyed the feature
on photoreal effects in issue 59 of Advanced
Photoshop, and would like to request a
tutorial on creating an ad similar to the chicken
heads (page 28) or cockroaches (page 30).
While many techniques are touched on in the
feature, I feel it would be of great benefit to
myself and possibly many other readers to be
taken through step by step to really
understand how to create those top-quality
commercially viable types of images.
Editor replies: Hi Ryan, thanks for your email. It is
great to hear that we’re hitting the mark with our
features, and your suggestion about having a full-
blown tutorial on the subject is definitely
“eMags 1 and 2
are available and
each features 16
full issues of AP”
Write to us : Advanced Photoshop Mailbox, Imagine Publishing, Richmond House, 33 Richmond Hill, Bournemouth, Dorset, UK, BH2 6EZ. Email us: advancedphotoshop@
14
Advanced Photoshop
014-015_AVP_61_Letters.indd 14
PHOTOREAL:
Our photoreal
effects feature
struck a chord with
one reader
something that we’ll look into further. Watch this
space! If you, like Ryan, have a suggestion for
something that you’d like to see in a tutorial in the
future, get in touch!
SUBJECT: Wacom goodness
FROM: Tony Roper
After using Photoshop for a few years
now in photo editing (I freelance for
aviation magazines), I finally bought a Wacom
Intuos3 last month. I mainly bought it to make
my photo editing quicker, but after having it
about a week or so I stumbled across your
magazine and decided to purchase it, as it
looked like the tutorials were pretty good.
Although I didn’t buy the magazine there and
then, I went to your website to see if I could get
it via mail order and also saw that you had
some Premium Collection bookazines
available – so I bought issue 56 and Premium
Collection 3, which arrived about a week later.
Not only were the tutorials excellent, they also
reawakened my art days from when I was a kid.
Finding the ‘Summery illustration’ tutorial in
Premium Collection 3 by David Cousens of
Cool Surface, I thought I’d give it a go,
especially as I had my new Wacom to help me.
The tutorial was well written and fairly easy
to understand. Getting used to more layers and
masks than I’m used to – as well as drawing
with the Wacom – was interesting, but I got it
in the end and I’m fairly happy with the results.
I’ve attached the finished picture for you to
take a look at; I’m only slightly disappointed in
some of the darker shading that I couldn’t
delete for some reason. I’m actually sending
this email to you because David Cousens
recommended me to do it. At the beginning
of the tutorial I had an issue with something
and emailed him for advice to which he
responded, so I sent the finished thing for him
to cast an eye over. Not only has Cool Surface
provided a good tutorial, but it also gave me
advice on the side – not a bad service at all,
you have to agree!
I have already doodled some new pictures
that I hope to turn into Photoshop art soon – I
used to draw pictures of space/future cities, as
well as pictures much like this tutorial when I
was younger, and this is the direction I’d like to
go in. Photoshop certainly has broken the
boundaries to make some great artwork and I
hope to achieve some of it myself.
LEARN FROM TUTORIALS: One reader has
been making the most of the tutorials in past issues
of Advanced Photoshop, available in our eMag and
bookazine products
im
18/8/09 17:38:05

AUDIO PHOTOSHOP SNIPPETS: AP is finally
in the modern age of podcasts – check out the first
couple on the website now!
Will The Premium Collection 1 and 2 be
available in print again soon? I’d really like to
get hold of them if they are.
Editor replies: Hi Tony. We’re glad that you’ve been
inspired to try new things with your Wacom tablet
and our tutorials. David Cousens’ tutorials are
always a great way to get into understanding the
concepts behind shading and colouring (turn to
page 38 for his latest offering), and we think that
your image is great! As for your questions about
the Premium Collections, we’re sorry to say that
both editions 1 and 2 are completely sold out
from our eShop; however, we did notice a copy in
our local WHSmith the other day, so there are
some out there! We have not long released a
digital version of The Premium Collection 1,
which is exactly the same as the print version but
on a CD with the tutorial files. Our eMags are also
good for getting back issues – eMags 1 and 2 are
available and each features 16 full issues of AP (16-
31 and 32-47 respectively) rather than a collection
of selected articles and tutorials. See www.
imagineshop.co.uk for the full range of products.
SUBJECT: Podcast envy
FROM: Rosie Steel
I am an avid reader of both Advanced
Photoshop and Photoshop Creative. I notice
that Photoshop Creative has its own podcasts
– extended version of its main interviews
usually. I love to listen to these on the tube on
the way to work, as they are interesting. I was
wondering if Advanced Photoshop was
planning on doing anything similar?
Editor replies: Rosie, you must have read our
minds. We have indeed just started doing
podcasts (see www.imaginepodcasts.com),
which are with the same people as the main
imagine-publishing.co.uk. Twitter us: http://twitter.com/advancedpshop/. Forum: www.advancedphotoshop.co.uk/forum
014-015_AVP_61_Letters.indd 15
interview each issue. The first one is a chat with
Stjepan Sejic, who we interviewed in issue 59,
followed by more talk with Michael Zimmerman
from issue 60. Let us know what you think!
SUBJECT: Career guides
FROM: Simon Skinner
Hi Advanced Photoshop. I have just started
buying the magazine (issue 59 was my first time)
and I really enjoyed the Career Focus on pages
78-79. I am due to start university this year
studying Digital Art, but I have yet to decide
what I want to do after my three years. I was
wondering if you had a collection of all the
shop:
Advanced Photo on Vol 1
Career Focus guides you have done to date that I
could get, so I have a definitive guide to help me
llecti
The Premium Co ages of advice
make my mind up in a few years?
6p
Digital edition: 25
for only £9.99!
Editor replies: Hi Simon, our Career Focus section is
actually almost as new to the magazine as you are!
The first one was launched in issue 57 (photo
retoucher) and we’ve now had four (issue 58 was
fashion illustrator and issue 60 was packaging
designer), with the fifth (comic artist) in this issue,
so it’s a bit soon for a collection yet. Keep buying,
though, to see us look at the whole range of digital
art jobs out there – and maybe a collection is
something that we could look at in the future.
SUBJECT: Type art
FROM: John Phillips
Hi AP. I just wanted to say that I have really
enjoyed the workshop on ornate typography in
issue 59 of the magazine. It’s something that I
have always thought is missing from AP:
shop
typography tutorials. Type can be made into
artwork of its own accord and it’s a great skill to
Advanced Photoe 2
eMag Volum
learn, so thank you! More of the same please!
n one disc
16 whole issues o
Editor replies: Hi John, glad you enjoyed our
steampunk-inspired type! We do have a whole
host of typographic styles that we want to cover in for only £19.99
!
future issues of the magazine, so keep your eyes
peeled. This issue, turn to page 44 to create a
fantastic typographical portrait!
“We do have a
whole host of Visit the
typographic styles Advanced Photoshop
online shop at
that we want to
www.imagineshop.co.uk
cover in future
issues, so keep for back issues,
your eyes peeled” books and
merchandise
18/8/09 17:39:24
 Community

On the web
www.advancedphotoshop.co.uk
Our website and readers’ forum is perfect for showing off Photoshop creations. We present the best images on
the site this month. Log on and upload to get your images here next issue!

LOST FOR
WORDS
ARTIST: Danny Ronald
Hananto
WEB: www.
advancedphotoshop.co.uk/
user/designchamber

“I’m a 28-year-old graphic

and multimedia designer
based in Jakarta,
Indonesia. I’m currently
working under the name
of my graphic design
studio, The Design
Chamber Studio, and have
my own clothing line that
will be launched soon. I’m
originally from Surakarta, a small town in Central Java, Indonesia. My
inspiration comes from my everyday life, the world around me and my
pure emotions: love, anger, heartbreak, betrayal. I also get inspired
through music. I cannot work without listening to music; there must be
something playing when I’m working, because it has a great impact on
my design and illustration.”

TURNOVER
ARTIST: Mario Aki
WEB: www.
advancedphotoshop.
co.uk/user/
mario2009

“I’m a freelance
photographer PEARL’S DREAM
living in New ARTIST: Federica Giusti
Zealand and have WEB: www.advancedphotoshop.co.uk/user/redsigns
used CS3 for
graphic design “I am a freelance web designer fascinated by contemporary art
since 2008. My and new technology, particularly photomanipulation and
images are mostly photography. Much of my work revolves around the fantasy and
based on my photos, manipulated and juxtaposed to convey messages. Gothic literature I grew up with, and in all my pictures I strive to
In my work, subject and meaning usually take precedence. In this image capture a single frame in a much larger story. This piece was
I wanted to depict the balance of opposites and how they take turn. First, made using stock pictures in Photoshop CS4 using only a
I removed the construction debris, reconstructed floor bricks and added mouse, never a graphics tablet. I used many levels, playing with
bats. Various brushes helped add texture to the ceiling and calcification light, contrast and the Dodge tool.
to the dark part of her skin. Several adjustment layers were applied to “Credits here go to Sinned-angel-stock (model),
correct and intensify lighting, as well as add shadows. Finally, a sepia Fairiegoodmother (background), Ayesha J Khan (flower) and
filter was added to create mood.” Hallonnie (Photoshop brushes).”

16
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 Join for free!www.advancedphotoshop.co.uk
The Advanced Photoshop website is a

A
thriving online community of Photoshop

ATE users of an advanced level.

CRE EE • Upload your work and share it

FARLLERYY
with others
• Rate images and leave comments
• Get honest feedback from
G ODA your peers

T Get online and create your own gallery

for free today!

KAREN MCDADE
WEB: www.
advancedphotoshop.co.uk/
user/brazenraisin

“The Advanced Photoshop

website has provided me
with an invaluable
resource for connecting
with talented artists all
over the world. The
friends I’ve made on the
website provide me with
the sounding board I
need for honest,
straightforward
feedback, which helps
me advance my skills
and grow as an artist.”

SUZANNE VAN PELT

WEB: www.advancedphotoshop.co.
uk/user/anathematixs

Over 0
“Advanced Photoshop’s ’s website

0
is packed full of information

5 ,0
that’s easily accessible, and

1mages aalded!
dy
very clear and easy to
navigate through. The users
can post their gallery online, rea
discuss everything from art
i
uplo
to magazine contents on the
forums and read through easy-
to-follow tutorials. I love it!”

COMPARE GREAT ARTWORK FROM THE GALLERY: www.advancedphotoshop.co.uk/photoshopfaceoff

017_AVP_61_WebHouseAd.indd 1 18/8/09 17:42:46

 Community

Web challenge
The winners T
HI
Challenge reference: AP 060
MO S
On our website, www.advancedphotoshop.co.uk/competitions.php, we run a web
P NTRI H’
challenge where you are asked to create an image in Photoshop using at least one
of three images provided. These challenges are updated monthly and they are
ZE S
becoming increasingly popular, so get your entries in for a chance to win.
Check out the website for details of our latest challenge and how to enter. The
winner will collect a special prize for that month (prizes change frequently) and will
also have their design printed in the magazine, along with two runners-up.
Our prize this month is a copy of Creative Photoshop CS4 by
Derek Lea, courtesy of Focal Press (www.focalpress.com).
Challenge start images
It’s aimed at Photoshop users who are familiar with the
software for image editing but want to learn its more
artistic applications, as well those who want to improve
their photomanipulation skills.

DAY OF TOMORROW
ARTIST: Sandra Radley
WEB: http://srmadness.deviantart.com/

“With such luscious scenery, it seemed obvious

to desecrate its beauty by forcing it into the
future. It was only when I started to experiment
that it took on an old-fashioned sci-fi movie form.
All of the stock elements that were used to
create the final image were desaturated, and
colour was introduced back in using a series of
colour overlays, saturations and level
adjustments. Numerous layers, shadows effects
and blending modes were used to build depth.
Cloud renders were used at various
transparency levels in order to create the
smoggy atmosphere and retain the overall
industrial feel.”

DRAGON’S DEN
ARTIST: Jon Sharp (aka Qiao)
WEB: www.advancedphotoshop.co.uk/user/
qiao

“I started off with the three images and

instantly the icy glacier one caught my
eye. I had no initial plan of action and,
with some time on my hands, I set about
using the Pen tool in order to cut out
sections of the ice. I copied these
sections over to a new canvas and
instantly saw a dragon-type face
emerging. My mind was then set on
creating a mysterious abstract icy
dragon being! I set to work, copying and
pasting and adding in elements and
effects. Sometimes it is just nice to have
a play!”

18
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018-019_AVP_61_WebWinners.indd 18 18/8/09 17:45:02

 B E R
E
W I NN
W

2012
REBORN
ARTIST: Amar Kakad
WEB: www.amarkakad.info

“This design is my
visualisation that revolves
around the theory of 2012
but, in this case, reborn.
It’s inspired by a myriad of
hypotheses that proclaim
‘the scarring of living
organisms caused by a
geographical
phenomenon.’ My idea
states the renaissance of
the space age living
in coexistence with the
primitive age where the
era faces a relapse.
Hence the title, 2012
Reborn. The image was
created by fusing
photographs and
other graphical elements
manipulated in Photoshop
and CINEMA 4D for
creating certain three-
dimensional elements.”

19
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018-019_AVP_61_WebWinners.indd 19 18/8/09 17:45:31

 Interview
MI STUDIO
Managing director Anthony Hartley-Denton reveals all, from the
studio’s foundations to its latest creative constructions
M
ulti-disciplined studio Mi (www.
wearemi.com) is a prime example
of how project type, technological
expertise and project delivery methods are
being thoroughly executed in the
architectural arena. Digital media undoubtedly
plays a huge part in Mi realising its astonishing
design, which has been recognised by some of
the industry’s biggest clients. These include Land
Securities, Allied London, Ask Developments and
the BBC.
Mi director Anthony Hartley-Denton, with over
ten years’ personal industry experience to his
name, has seen the studio build up around him
since its creation five years ago, even witnessing a
22
Advanced Photoshop
022-027_AVP_61_Interview.indd 22
recent rebrand. He explains: “We have completed
images across multiple disciplines but I would say
that we are most known currently for our
architectural work. We have worked with most of
the top architects, creating images ranging from
single eco houses to futuristic skyscrapers. We
really don’t have one preferred area of application.
Different industries bring different clients and all
of this just makes for a much more exciting
working environment.”
However, Hartley-Denton’s own initial
environment, when founding the studio, was
nowhere near as lavish as those now occupied by
Mi. He reveals: “I started on my dining room table
after deciding to go freelance. I was busy
immediately with lots of fantastic clients, many of
whom we still work with to this day. We soon
grew out of a back-room studio and moved into a
serviced office, eventually buying and fitting out
our own custom-made facility.”
Fundamental Photoshop
It is not surprising that Mi excels in the
architecture industry when taking into account
Hartley-Denton’s creative history. Receiving a
degree in Interior Architecture, he found himself
required to breathe life into standard CAD
elevations for presentations. “I worked at various
architects and continued to use Photoshop. I
always liked doing Photoshop work, as Adobe
20/8/09 17:50:12

CLIPPERS QUAY NIGHT: “Careful care was
needed in order to marry the CGI with the rich colours of
the backplate photography”
© MI STUDIO
products seem to be the only ones that don’t
have a tendency to crash at a critical moment,” he
elaborates. “Eventually, I found myself at an
architectural imaging company doing CGI images
for property developments and such like. It was
here that I really began to get to work with
Photoshop at a much more competent level. I had
“Hard work goes
without saying
these days in the
CGI field”
022-027_AVP_61_Interview.indd 23
done okay before, but finally I had a chance to
really get to grips with its functionality.”
Photoshop has since played a huge role in Mi
projects, as Hartley-Denton reveals: “It serves as a
pillar application to bring out the very best of our
3ds Max elements. As we’ve stepped into the
arena of TV spots, the basic software required to
do the job has expanded greatly. We use all of the
Adobe suite, as well as Digital Fusion and ZBrush
to mention a few. Photoshop is integral to the
successful completion of a project all the way
through our design pipeline. I can’t think of
anyone that has come through the studio in the
Inter
Mi Studio
view
CASTLEFIELD QUAY: “The water, arches and
bronze background buildings all had to be re-created in
3D. Photoshop was used to create the textures on the
model and to produce the final composite”
© MI STUDIO
MOSLEY STREET INTERNAL: “Photoshop was
used for all texture detail and for final colour correction
and compositing with the background and people”
© MI STUDIO
last five years that has not utilised this software in
some way.”
But Hartley-Denton can certainly recall how it
helped in Mi’s first major commission.
Fundamentally, this launched the studio’s
snowballing success. He recalls: “Our first big job
was for Northwest-based property developer
Bruntwood Estates, completing a suite of three
images: one external and two internal CGI
23
Advanced Photoshop
20/8/09 17:51:39
 Interview
INTERVIEW EXTRA
www.imaginepodcasts.com
More from Mi Studio

CGI render out of 3ds Max and, finally, the

additional people and reflections.”

views. Photoshop was instrumental in
allowing me to carefully knit the new CGI image
with the existing photography and repair the
original photo stock.”
Photoshop was used at multiple other points in
this project, as Hartley-Denton reveals his
enthusiasm and elaborates on techniques
deployed by Mi: “Initial drum-scanned high-
resolution transparencies were brought into
Photoshop and tidied up. This involved touching
up imperfections on the image and rebuilding
certain elements, which were obscured by
contractor hoardings present in the photography.”
Photoshop was also used to construct texture
maps, which would then be applied to the 3ds
KAZAKHSTAN Max model, as he elaborates: “Photoshop allowed
TOWER: us to suitably dirty up the textures for that real
“Extensive
retouching was worn look.”
needed on the The final stage of production found Mi bringing
backplate the base render (usually in TIFF format) into
photography to
reconstruct the Photoshop, where they then marry it with the
landscaping in the existing photography. “We use Photoshop to
front of this. It won
mask out the area where the building should sit
a Master Award in
EXPOSÉ 5” in, then we begin to make subtle tonal tweaks
© MI STUDIO between the original source photography,”
explains Hartley-Denton. “Reflections are added
also using source photography. We then finalise
things by using the software to bring into balance
all the separate areas of the image, such as the
photographs and subsequent repairs, the actual
Studio ethos
The significance of winning and the subsequent
successful completion of this project has never
been lost on Hartley-Denton and the Mi working
team, as it allowed them to start operating in the
big leagues of architectural CGI work. “The
standard of the image was very high and still
stands up today. It was a real tour de force of our
burgeoning talents,” he reveals.
This multi-discipline studio’s ‘burgeoning
talents’ are the backbone of Mi’s success.
Nurturing expression and individuality, at the
same time appreciating what it means to work as
a team, has permitted Mi’s continuing success and
has promoted its diverse styles, as Hartley-Denton
explains: “Our artists all have their own sources of
inspiration and styles. We encourage them to
introduce this into their images. Although, when
you are aiming for photorealism it’s more a case of
the ethos of constant and never-ending

24
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022-027_AVP_61_Interview.indd 24 20/8/09 17:52:42


improvement. Technically speaking, our style of
working is constantly evolving in line with the
latest software developments throughout our
industry and others, simply to become better and
more efficient at what we do.”
Hartley-Denton constantly drives the team
forward, striving for the best possible results. But
this is to be expected in an extremely competitive
market, as he explains: “I am critical. Probably
overly so and my staff bear the brunt of it. I don’t
think I am particularly talented but I do have an
eye for detail, which I think really helps us with
clients. This is becoming more and more
important as our clients become more educated
at working with CGI, its capabilities and the level
of realism you can now achieve. There is a lot of
competition out there in our industry and you
have to be critical of your own and others’ work,
good and bad, to keep up with the increasingly
high standards.”
It is plain to see that Mi is a creative family. They
trust each other’s creative judgement. They
appreciate one another’s artistic tendencies and
022-027_AVP_61_Interview.indd 25
Mi Studio
Hatton Gardens Penthouse (above):
“The building in this image is all CGI. Photoshop was used
for all texture detail, final colour correction and
compositing with the background and people”
© Mi studio
preferences. In essence, the staff work like a well-
oiled creative machine. But without hard work this
means nothing, as Hartley-Denton explains what
it takes to make it in the Mi fraternity: “Hard work
goes without saying these days in the CGI field. Be
self-reliant and self-motivated. It’s said so much
these days but the right attitude is so important. I
would sooner have an employee with a great
attitude rather than a whizz kid who thought they
knew it all already. I would also rate team players
highly. All our projects feature multiple staff
members, so your ability to get on with
colleagues is a must.”
Industry accolade
Mi’s high standards have not only seen the
company obtain impressive clientele but also
flattering admiration from art fans. With
Villa Courtyard: “We used Photoshop to create
the bougainvillea and background elements. The brick
was created from many reference photos and used as a
Diffuse and Displacement map for the 3D geometry”
© Mi studio
25
Advanced Photoshop
20/8/09 17:53:47
 Interview
SPINNINGFIELDS: “Photoshop was preliminary used
for the addition of people and a lift to the images”
© MI STUDIO
numerous images featured in the established
and respected Ballistic Publishing’s EXPOSÉ and
Elemental books, the studio has consequently
received the Master and Excellence Awards on
several occasions. “What we are all most proud of,
though, are the two wins we were awarded this
year at the Big Chip Awards in Manchester,”
elaborates Hartley-Denton. “We walked away from
the ceremony with the Best Use of Animation and
the Anthony Wilson Original Modern Award,
which we were extremely pleased with. Winning
awards won’t necessarily win us more work, but it
will help boost our profile in the commercial
market, which we can use to our advantage. It’s
also great motivation for our artists.”
26
Advanced Photoshop
022-027_AVP_61_Interview.indd 26
However, for all the tributes and commercial
success, Mi’s most mainstream project featured no
payout or established award. The project reveals
that Mi is a studio always in tune with a passion
for invention of all kinds, as Hartley-Denton
reveals: “The most mainstream of our projects,
ironically enough, was not a paid job. We created
a viral for Christmas 2008, which has done
extremely well. It featured a down-on-his-luck
robot character, which came from a job we had
canned due to the credit crunch.”
Rather than consign him to the depths of the
server, Mi decided to create a tongue-in-cheek
“Our artists all have their own sources
of inspiration and styles, and we
encourage them”
charity advert, which would sing his plight. “The
movie went crazy and even crossed over into the
mainstream press, with me and our other
technical director Gareth Thatcher being
interviewed for several radio and TV spots,” admits
Hartley-Denton. “We are currently in
preproduction on a music video that features our
robot friend AHD168. There is also a very well-
known British actor who has agreed to do a
cameo – but don’t ask me who it is, as I am sworn
to secrecy.”
This particular task was essentially an animation
project, which used Photoshop extensively to
20/8/09 17:54:26
 Mi Studio

PORTLAND STREET: “Extensive retouching to the

backplate photography was needed to reconstruct the
landscaping in the front of this image. Photographic
reflection reference was applied to the building façade”
© MI STUDIO

TRINITY SHOPPING CENTRE: “Photoshop was

preliminary used for extensive tonal changes,
postproduction enhancements and people placement”
© MI STUDIO

texture and map the robot protagonist. “The

product would have fundamentally suffered if we
had not had access to such a robust package,” the
managing director admits.
Hartley-Denton’s own and his team’s
awareness of project delivery, coupled with Mi’s
assimilation of evolving technologies, assures that
this multi-disciplined studio likewise doesn’t
‘fundamentally suffer’ in the commercial arena, as
he concludes: “We run extremely efficiently. If you
will pardon the expression, the staff at Mi are
drilled on procedure over and over again. You
would probably think that this would make for a
hellish environment, but the logic is that if we can
do what we have to as quick as we can, we will
then get as much time as possible to do what we
want to.”

www.wearemi.com

27
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 Feature

28
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 Global designs

and explore
We travel the creative worldglo nds
emerging and exciting bal tre

N
ot one country has a distinct recipe for
style, but some creative flavours are more
prominent than others. In this month’s
feature, Advanced Photoshop is investigating the
world of art and design – literally. We’ve picked up the
scent of several apparent art trends emerging from
regions across the globe. From Western to Eastern
hemispheres, we take a look at what makes these
diverse and individual styles so accessible to local and
international audiences, and exactly what is inspiring
native artists to promote such methods in their work.
We’ll be discussing how cultural and external
influences affect the use of colour, shape and
composition. We will also see how Photoshop plays
an integral part in the invention of these overseas
designs, discover what creative hardware is being
applied and why it is on the agenda, as well as
getting a general insight into the subject matter of
the artwork and how this is personal to each
individual artist.
So read on and enjoy our creative exploration of
these continents’ creative styles, appreciate our
international artists’ motives, methods and ideas. Who
knows, maybe they’ll make a big impression and
perhaps even inspire you to stir a little exotic flavour
into your own work for good measure!

29
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 Feature

FAC arti .br and www.artpimp.com.ber portals sromote

NIKE: “This image, commissioned by
to r Ho

ww
we ArtOffice, was produced for Nike Stores
egi Brazil, promoted during December 2008
on

T: Bra sts from anonymity with nativ ing to p

w.z
until February 2009”
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© GUILHERME MARCONI

up
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HAVAIANAS BRASIL: “Illustrated advert for

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the Carnaval campaign for the Havaianas shoe

h a emer
a cie r
pe o lou

for company. The idea is to make the worm pipes

s
our a made from the sandal itself,” says Jean Campos
a

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© 2009 ESTÚDIO ROMEU & JULIETA
ists.
of

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in
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FA

S
outh America is renowned as a cultural hub
with a high fervour for colour, and no
country more so than Brazil. The make-up of
this nation oozes tropical tones, from the native
biological variety of its Amazon rainforest to its urban
art-filled streets. Its national folklore is littered with
ethnic diversity, with traditions such as Carnaval
wasting not one tone or shade in its presentation.
Essentially, Brazil sleeps, eats and drinks colour.
It’s no surprise that emerging artists in this part of
the globe are producing fresh, distinct styles, which
promote likewise attitudes towards tonality. However,
some creatives disagree that Brazil has any orthodox
style. Rio de Janeiro-based artist Guilherme Marconi
“The application of hot
colours, vector-based
creatives. This affection for tone reveals artists are
sharing visions of the same culture at least. Lime
green, green-yellow, rich cyan, hot pink and orange
along with lemon appear frequently. Goiânia-based
designer Rodrigo Francisco (www.runandshout.com)
reveals: “They simply mean good things to me and
represent the way I feel about my culture, which
has always been colourful and warm. By using
them, I expect people to share this ethos.”
Artists will tend to experiment until
they achieve appealing and
intoxicating results, as American
artist Jean Campos (www.
romeuejulieta.net) adds: “I like
mixing red and yellow, putting
them together with Bordeaux
and purple. I also like
working with green and

shapes and illustration yellow, despite many

Brazilian designers
is generating a unity seeming to be tired of
these colours. I also seek
between creatives” new combinations before
I finish an illustration
(www.marconi.nu) explains: “I don’t believe that there because I want to be sure
is a Brazilian style because I know of people who I’ve tried everything. I like
differ. For example, Adhemas Batista is very different to experiment with
from Nando Costa. These artists show their own vision colours that first may not
of the big world through their images. I do the same.” suit that kind of work then I
However, the application of hot colours, coupled stop and take a walk. When I
with a preference for vector-based shapes and come back, that colour
illustration, is generating a unity between native doesn’t bother me any more.”

30
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 Global designs
Urban styles
Unlike many countries where graffiti is deterred as
vandalism, the urban scene is blossoming in
Brazil. Some even say that this artistic movement
is an underlining heritage. Paulo André Flatau
Righini agrees: “The streets of Sao Paulo serve as
an art gallery for talented artists. We have tours
that are focused specifically on graffiti. The walls
of Sao Paulo meet a variety of styles that can be
found in the four corners of the world.”
This love of urban art is infectious in South
America, and many other designers and
collectives are taking their design across the
globe. Take, for example, the collective Joystick
(www.jstk.org), a group of Colombian artists
now based in Barcelona. With a style close to
technical illustration, they focus on public space
intervention and parasitic attacks of stickers
and paste-ups.
If you’re interested in urban art and its variety
of styles, then you can always check out online
resources such as www.graphotism.com and
www.ekosystem.org. Street Logos, authored by
Tristan Manco and published by Thames &
Hudson, is a book jam-packed with exciting
visuals and global resources. This retails for as
little as £9.95/$19.95 (www.amazon.com) and
will certainly inspire. DAILY BASIS: “This was work done with my mate
Danilo Gusmão, also from Brazil. We tried representing
what designers and illustrators deal with every day”
© RODRIGO FRANCISCO AND DANILO GUSMÃO

MAID: “This work was done for an

event by Maid Communications. It
consists Illustrator vectors and a few
hours of Photoshop”
© PAULO ANDRÉ FLATAU RIGHINI

these elements serve to complement the tropicality

UNDERSEA RIDER (BELOW): “Work done
alongside Saltyshadow, first just as an illustration
but then we proposed it as a T-shirt design”
© RODRIGO FRANCISCO AND SALTYSHADOW
BIG BANG EYES: “The predominant
factor is colour in this piece. I didn’t
know exactly where I wanted to take
this work but it ended up well”
© PAULO ANDRÉ FLATAU RIGHINI
The application of vectors seems to be far more
deliberate than colour. Sao Paulo-based designer
Paulo André Flatau Righini (www.behance.net/
pauloflatau) explains: “I enjoy their lightness and
modernity. They have the power to create a clean
atmosphere. This makes the design seem more
contemporary.” Artists also endorse vector
convenience, as Francisco explains: “Inventing with
vector images is important to me. When I am working
on print projects, I don’t need to create everything in
extremely big sizes. I can draw screen size in Illustrator
then export as a PSD with higher DPI values to keep
working in Photoshop.”
Artists will usually import vector files into Adobe’s
editing software as Smart Objects, preserving the
original characteristics. Photoshop is then used to
compose a piece, as Francisco continues: “I
experiment a lot with blending modes and textures,
allied to gradient layers and image adjustment
settings.” Channels and layer masks are also applied,
acting as shortcuts when merging techniques. All of
of the design. There’s no mess, just pure, crisp lines,
which let viewers focus on and appreciate the
design’s vitality.
The application of line and form also resonates a
distinct urban influence, which is understandable as
graffiti art is a highly accepted art form in Brazil.
However, its effect is individual to each artist, as
Marconi adds: “The urban element that I can see in my
style of illustration is the search for beauty and
equilibrium in chaos. I use repetitions and colours to
shape a beautiful image, but if you take a look at the
chaos there is some kind of organisation in the
middle of the disorganisation like a big metropolis.”
Many of these artists have experience producing
large-format design for branding and advertising
campaigns. Industry areas such as sportswear,
electronics and food and drink put a great emphasis
on consumer satisfaction to sell products. A Brazilian
style with its feel-good factor and vector language
supplements this, as Marconi reveals: “Usually, clients
will commission me for their campaigns because
they’re looking for something happy, full-coloured,
with a lot of positive energy.” Francisco adds:
“Essentially, an unusual or rather exotic way of
displaying these products can get the attention of
those that these industries need in order to succeed
in their business.”

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 Feature

FAC onsidered emxoney envelopes still issued in r’s

T: Colo tremely lucky, with New Year
c
lucky

ur plays a b
ig part in Chinese
,500
than 10

s u p e rs t
e

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00

ition.
o
d. M
i la , 7

Red
ere a blishe
s h
ak

is
T

as est
ia . i ty w cts
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LOST IN THE RAINBOW: “I made this

e
as
er subj

when I was pretty down, so I drew one lost

h

hand and one lost foot, like searching or

60

sleepwalking. After, I thought I’d do a

s
w

r rainbow version to light it up. As it turns

t

ve n i v out, I love this version a lot more for it”

I

o © LEIYING CHEN
ied t u nd
s t u d f i rs t o I
e ’s s
h e glob orld ha n k
s t w t
cros the e
s t u d e n t s f r o m a , w h e r e o u ld ow
BC h
c a t ion s
edu
CT: Design FA

GQ: “Created for GQ magazine’s editorial

illustration. The theme was based on
hedge fund managers and how they are
always looking out for opportunities”
© CONDE NAST AND ARCHAN NAIR

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TIGER BEER: “The theme was energy
for this campaign. We get energy
from nature, from life, from the
movement around us. Hence the art
direction was based on that”
© TIGER BEER AND ARCHAN NAIR
GET DRUNK: “This illustrates a drunken
heart, not actually drunk but one that has
wild dreams, crazy thoughts and passions. I
was trying to give it an acid touch”
© LEIYING CHEN
A
sia is factually the world’s largest
continent. With a huge range of different
cultures, environments, historical ties and
government systems, it’s bursting with creative
culture and inspiration. However, there are artists
hailing from separate regions, beginning to emerge
with unified styles. These are surprisingly atypical of
this region.
“Asia is not the region of pop or any modern styles,”
explains Chinese designer Leiying ‘Shadow’ Chen
(www.saltyshadow.com). Yet it’s Western influences
that have captured the imagination of these Eastern
artists, as he adds: “Chinese culture is deep down in
my blood, while Western culture is what really
influences me. I love pop, street art, hip-hop, rock,
funk, tattoo art, Art Deco, futuristic art, European
Modernism and postmodernism.”
This amalgamation of Eastern and Western flavours
has left our artists with an energetic and exotic surreal
style. It’s this surreal element that hints at Eastern
influences, as Indian artist Archan Nair (www.
archann.net) reveals: “We are accustomed to prayers,
temples, mythology and amazingly surreal god
stories. They creep into our soul so much, naturally
inherited into our thinking and values. The most
amazing part is, even though we live with it, we find it
more and more fascinating all the time and love to
028-035_AVP_61_GlobalDesigns.ind33 33
experiment
and create
surrealism more and more.
Not only Indian art forms, but most of the
Asian countries have a strong cultural influence.”
This love of experimentation reflects in the heavy
mixed-media methods applied by these artists.
Design sensibility comes second to the joy of creating,
as Nair says: “Art is not just a way of expressing myself
but a journey to attain something extraordinary, like
“This amalgamation of
Eastern and Western
flavours has left our
artists with an exotic
and surreal style”
nirvana. I’m always eager to try out new things and
discover new applications. Just using one tool would
be boring. That’s why I love the fusion of various
forms and coming up with interesting results.”
This fusion is complemented by digital methods.
Nair usually produces traditional elements, which he
then scans and mixes in Photoshop, while Chen
SUMMERTONE: “It’s about the balcony
view of a summer night. The girl inside
the house is immersed in the music, while a
bird landing on her balcony brings her the
message of love”
© LEIYING CHEN
explains: “I
download stock images
and textures, making my own
texture images, mainly watercolours. I scan and
perfect these in Photoshop through trial and error,
applying these as part of the artwork as well as simple
textures.” Artists will also apply basic tools such as the
Pen tool, Smudge, Dodge and Burn tentatively.
Spontaneity is also apparent in the application of
colour, including bright ochres, turquoise, blacks,
blues and carmine. Underlining the excitement and
surrealism of this style, Nair explains: “I think the
colours come out not only from my culture, but also
my feelings. I am a really happy person and have done
a lot in life. So the positive energy inside me
transcends into colours.“ Chen agrees: “I use colours
spontaneously, almost instinctively; they are a mirror
for what kind of colours are swimming in my head at
that certain period.”
Energy is a deriving factor that makes this style
appealing. This is presented by free-flowing surreal
and psychedelic abstract shapes, as Chen explains: “I
make these shapes to express my feelings. They are
like butterflies, always moving and changing places.
Nair adds: “Since I love to capture moods, movement
allows me to create the necessary visual energy. Every
time you see it, you interpret something new.”
33
Advanced Photoshop
20/8/09 18:02:34
 Feature

FA
CT:
ex
p la

Bein
in t
he c

g rega
ity’s pe
a nd even the region centr
rded as the econo
ncha nt fo r p r od u a nufa f the

mic
al m e o
ct a nd tu

The
b

ra
diversity
c

rin nd de
g s produced by
We h u b i g n FLYING DUTCHMAN: “Mixed-media collage this method
ste , wo u and gouache painting, about a metre tall. It
rn l includes found photographs and some of my allows Cape Town
Cap d own of skulls, Baghdad and seascapes” designers to evolve,
e, © ED FRANC LOVEROCK BABB
adapt and survive in the
saturated commercial arena. It

W
ith the second highest population in
South Africa, Cape Town is a thriving
metropolis of design talent. Its creative
scene is built around the great many design colleges
and boutique design agencies that exist here,
including recognisable names such as Network BBDO
and Ogilvy. Being the economic centre of the Western
Cape province and fairly consumer-driven, it’s not
surprising that the region promotes a high amount of
graphical artists, saturated with entertainment
industry, product design and graphic design projects.
Local artist Ed Franc Loverock Babb (www.
the creative sectors. We’re aware of the cool
photographers, designers and musicians, and the
younger kids are moved by their work, just wanting to
emulate it. Every day you see something new in Cape
Town and people ask ‘Whose work is this?’”
Within the magnitude of design produced, a
traditional media ethos becomes apparent. Whether
incorporated or simulated with digital application,
“Its creative scene is
built around the many
likewise prompts the impressive quality of design
spread out across the creative community, as Babb
concurs: “Often, pieces involve analogue as well as
digital elements. I make custom brushes and texture
plates, and sometimes work is derived from sketches
or photographs. Each piece often has its own method.
I like to experiment as often as possible. The fast-
paced and brutal nature of advertising has taught me
a lot. The pressure’s certainly increased my ability to
produce better work sooner.”
This huge commercial arena has also dissuaded
artists from adopting any notion of an indigenous

design colleges and

edwardbabb.com) explains: “I have worked for
several postproduction firms, most notably
Blackginger and Masters & Savant, with clients
ranging from VW, BMW, Yardley and Pepsi. The
advertising and film industries are big business here.
It’s the cultural centre of South Africa in my opinion,
and certainly one of the most laid-back, liberal cities
on the continent.”
Design sophistication is highly prized among a
close-knit community, as designer Daniel Ting Chong
(www.behance.net/danieltingchong) reveals: “In
Cape Town, everyone knows everyone, especially in
boutique design
agencies that exist”
many artists adopt hand-drawn elements. Chong
explains: “I think it’s cool to be using traditional
techniques that obviously still work. I like to use
varying techniques, as they push my work a lot more.
The viewer appreciates this consideration and
sensitivity a lot more, whether subconsciously or not.”
style, being more receptive to the global design
market. For example, artists are far more conscious in
their application of colour and composition. Daniel
Orme and Linsey Levendall, designers at Cape Town-
based design studio Bison (www.bisonart.co.za),
both agree: “The aesthetics of our work is very mixed,
having never consciously stuck to a particular style.
However, we do seem to use strong geometric
shapes, some of which only serve to balance a
composition.” This common focus on experimentation
no doubt gives way to the noticeable abstract nature
of many artists’ work.

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 Global designs
BYPASS FADED OFFICER DREAMS:
“Part of an exhibition in South Africa with
artists Jeff Koons, D*Face and others”
© DANIEL TING CHONG

REFLECTIONS OF FALLING SATELLITES:

“This band logo is inspired by satellites. The
ridged vector elements try to interact with the
drawing, just like humans and technology”
© BISON

Creative capital:
Cape Town
Cape Town is an industrious creative location,
and professional attitudes are filtering through to
graduate level and lower education.
This city provides numerous notable and
entertaining educational facilities. The most
established is the AAA school of advertising
(www.aaaschool.co.za), which is owned by the
professional body of the advertising industry, the
ACA (Association for Communication and
Advertising). The institute’s creative, copyright
and marketing courses prepare young talent with
the necessary skills for a career in advertising.
Vega (www.vegaschool.com), The Brand
Communications School, aims to inspire a new
breed of thinkers with the expertise to generate
healthy brand ideas. It promises courses that are
outcome-based, integrated and interactive.
Local artists are aware that the standard of
their own design is playing a huge part in
circulating creative enthusiasm. Daniel Ting
Chong explains: “I’ve seen some of my work
cropping up in Johannesburg, but mostly in high
BISOMETRIC2: “Part of a
schools and colleges. I once received an email cathartic series of illustrations
from a schoolboy in Johannesburg, saying he where we mix mediums”
© BISON
really liked my work so had copied it for a final art
piece. I laughed and was totally okay with it.”
Levendall continues: “I think there is a But the use of digital software and hardware, as
misconception that artists in poorer countries use enhanced editing devices, do have a distinct impact.
muted colours, somehow relating to a lack of modern “A majority of my abstract work uses custom
technology. In South Africa, this isn’t the case. Colour Photoshop brushes, with diverse Opacity settings,
choice always ends up being an intuitive decision. We angle rotations or scatterings controlled by brush
don’t see our culture predetermining the colours we pressure, or even texture plates. I use a lot of selection
use, it comes down to what the particular piece calls techniques and often play around with adjustment
for at the time.” Orme adds: “I think the world is too layers using pre-existing alphas from the Channels
connected to make hard distinctions between artists palette,” Chong adds. “The drawing tablet gives me
based on where they are from. I don’t think more movement and freedom with my work. I think it
geographical situation has as big an impact on gives my line work and colour application a more
graphic design work as it perhaps used to. It’s more natural flow.” Important factors when reproducing a
about how you live as opposed to where you live.” tangible and traditional-based style.

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 MASTERCLASS
HAMMERGIRL: This illustration was commissioned
by A Beautiful Haze Clothing Co., and it is a homage to
the 1984 Apple Computer TV advertisement
© ART BY CARLOS ‘NEMA’ GOMEZ,
COLOURING BY BENNY FUENTES

DIGITAL
COLOURING
TECHNIQUES
Bringing colour and life to line artwork is the job
of a digital colourist. We give you an insight into this colourful realm
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SECRET FILES: SUPERMAN: “Here, we see a young Supergirl on
Krypton, with its bright red flora and moons. I placed moons where
penciller Fernando Dagnino indicated, but rendered them to show
© 2009 DC COMICS/IMAGES COURTESY DC COMICS
SWIFF: TINY TALES POSTER: “I used a lot
of warm colours to create an alerting/angry mood
after being surrounded by mask-wearing lizards”
© DAT BOI DREW
T
he process of adding light and colour to
monochrome artwork has been around for
a very long time, being used in animation
and comic books for years. However, in our tech-savvy
times, traditional colouring is being overtaken with
programs like Photoshop taking colouring into the
digital world.
Digital colouring is an appealing area for users of
Photoshop, as it allows a great deal of experimentation
on existing artwork, but it’s also a much sought-after
career choice for budding artists, as Blond, a freelance
colourist (www.blondthecolorist.com), says: “It’s like
getting paid for finishing your childhood colouring
books, drawn by your favourite comic-book illustrators,
with cutting-edge software and hardware, albeit with
deadline pressures and editors.” Having worked on titles
such as Ultimate Fantastic Four and Ghostbusters: Legion,
Blond has certainly seen success in this field; however, it’s
not an easy industry to crack. So how do you set yourself
onto this popular career path and begin to explore the
opportunities digital colouring can give you?
THE BEGINNING
As a basic start, you need to get hold of line art to
practise on. The best way to do this is to strike up
friendships with artists, maybe through sites such as
deviantART, or through universities. Publishers and
TURN THE PAGE FOR A DIGITAL COLOURING TUTORIAL…
036-041_AVP_61_LineArtMC.indd 37
volume and atmospheric effect”
COLOURED BY BLOND
illustrators may also supply pages that you can work
your colour magic on, with studios such as Top Cow
providing samples on their websites. Comic-book artist
Dat Boi Drew (www.datboidrew.com) also supplies line
art over at www.notioncomics.com. Keeping up the
practice is very important, as Dat Boi Drew reiterates: “If
you’re not hired by any major company, do some logo
work or CD covers. It’ll keep you colouring, plus you’ll get
paid for it.”
It’s vital to get your work out there if you want to
colour professionally, so be sure to set up an online
portfolio and try and get your work on websites such as
www.comicartists.org or www.comicartfans.com, too.
Additionally, attending conventions with your artwork is
a great way to be seen. Benny Fuentes (http://
bennyfuentes.com), a digital colourist who has worked
for Marvel, DC Comics and Stone Arch Books, also puts
emphasis on the importance of getting your work
viewed by the right people, as he says: “A few years ago,
it was very difficult to showcase your artwork in order to
get them reviewed by the pros in the industry. Right
now, it’s as simple as going to any forum or art
community and asking for comments to improve your
colouring style. You never know who is reviewing your
work; usually a lot of art directors and editors browse
these places looking for new young talents.”
THE PROFESSION
Being a digital colourist as a career is not simply
a case of encountering that big break but it also
requires dedication and a certain set of core personality
traits, as Blond says: “You must have a professional
work ethic. It takes discipline to balance the freedom
of working from home and keeping your own hours,
yet avoiding distractions that will cause you to miss
your deadlines.”
The process of colouring itself takes artistic training, as
well as competency with the technology, as Blond
emphasises: “Colouring is not simply a production
process. You must have an artistic vision before it can be
translated on screen. The best colourists will have
illustration experience and some knowledge of anatomy.
You must be able to convey mood and emotion, and
advance rather than hinder the storytelling.”
Industry advice
Liezl Buenaventura
Digital colourist
Freelance, represented
by Jerry Livengood of
Serendipity Art Sales
Liezl Buenaventura (www.liezlbuenaventura.com)
is a freelance digital colourist who has worked on a
number of comics, such as Codename: Power, The
Oswald Chronicles and Flashback Universe, as well as
having worked on pin-ups by Jason Sobol, Pop
Mhan and Will Perkins.
“I’ve wanted to get into the comics industry ever
since I was a child, and as I developed my craft I
realised that I enjoyed colour theory very much. I
majored in Fine Arts, so I was exposed to the
different mediums and I just gradually realised
what my strengths were.
“I personally rushed into this blind. I did five
sample pages from a Spider-Man comic that an art
farm had put up as a test for budding colourists,
and I went to forums and showed people my work. I
also applied for as many jobs as I could, getting
rejected left and right. I just kept on doing test
pages, trying to learn from what feedback I would
get from the teams that would reject me.”
Buenaventura has this industry advice to offer:
“Digital colouring is very much a collaborative
process, and you need to learn to take into account
what the penciller wants, what the editor wants
and what you want, and somehow please
everyone. Most of the time, you’re lucky if you get
two out of three. Art is highly subjective, and you
really need a lot of patience to get through revision
after revision. The key is just to really love and
enjoy what you’re doing!”
Buenaventura is currently collaborating with
Nathan Ooten on a web/iPhone comic pitch called
‘Finder Inc’, and working on a graphic novel for
Arcana Studios and a fencing comic called En Garde
that has just wrapped up its first issue.
COPY STORE COVER: Buenaventura says: “Will’s lines
have a playful, almost cartoonish feel to them, and I loved
playing with the 2D characters on such a textured
background. I was aiming for an old-school animation style
due to the pseudo pulp nature of the comic, and I felt that this
was a great chance to work with such a dynamic style”
© PENCILS AND INKS BY WILL PERKINS,
COLOURS BY LIEZL BUENAVENTURA
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20/8/09 18:24:38
 MASTERCLASS

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 Colouring advice
Take your colouring skills to a new level

T his tutorial will help you understand a

comic-style approach to colouring,
focusing on radiosity and local colour.
Colours alter depending on the environment they’re in;
for example, people tend to think of paper as white, but
if you look at it in an office, it may look more yellow, while
at night it will look more blue.
We’ll be looking at how strong colours affect the light
surrounding them, and how using local colour can bring
all of the image’s elements together.
ON THE DISC

You will find all of the brushes used in this

tutorial and a concrete texture, plus the
image’s lines for you to colour.

1 A good background
Never colour on a white background, as it throws
your perception of colours. Use a fairly neutral colour to
2 Traveller’s guide
Create a colour guide underneath the Lines layer
to try out different colour schemes. Doing this in
OUR EXPERT David and Sarah Cousens
David and Sarah run Cool Surface (www.coolsurface.com) from
the Southwest of England. They have produced artwork for the
BBC, illustrated a series of books for Macmillan Publishing and
fill the image. In this case use a sky blue, then use a large advance will ensure your colours have cohesion and
contributed to a number of international magazines.
Airbrush to suggest clouds. Use darker shades at the don’t look thrown together. It can often help to look at a
bottom and white clouds nearer the top to create a colour wheel to choose complementary colours.
sense of height and distance.
“Colours alter
depending on the
environment they’re
in; for example,
people tend to think
of paper as white, but
if you look at it in an
office, it may look
yellow, while at night
it’ll look more blue”

4 A fair clip
Add clipping mask layers to each of your flat colour
layers (press Cmd/Ctrl+Shift+N and tick Use Previous
Layer to Create Clipping Mask). The benefit of clipping

3
masks will be obvious here, as any shading you draw will
Flat out only appear on top of existing colours so you don’t have
Next up, add some new layers above your colour to worry about going over the lines!
guide and apply your flat colours with a hard-edged
brush. Make sure that you keep adjoining areas of the
image on different layers, for example, the tortoise’s skin
should be on a different layer from his shell, but the shell
and balloons can be on the same layer. Keeping the
colours separated will ensure that shading is much easier
later on.

Quick tip
Our ability to see colour deteriorates the further
away an object is from us, so make the small
tortoise a dark blue; it will appear as if it is far in
the distance.

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 MASTERCLASS
5 In the shade
When shading, opt for a darker and more
saturated version of the base colour with the colouring
opacity brush (on the CD). To shade the hair, use the hair
brush. Start with a darker colour (eg, medium blueish
grey) to lay down the base of the shading, then build up
to lighter strands on the top to give the illusion of depth.
6 Dark overlays
Add a second clipping mask layer to each flat
colour layer and set their blending modes to Overlay.
Using the Radial Gradient tool (set Foreground to
Transparent), hold Opt/Alt to pick the shading colour of
each element and add variation to the shadows.
7 Light overlays
Still on the Overlay layers, pick the lightest colour
of each element and add some gradients to the light
areas, eg, the woman’s face, chest and top of her
shoulder. Repeat this process for the tortoise’s skin, using
a pale green. Light scatters over cast shadows, so drag
the light gradients slightly over the edge of your shading.

8 Ballooning out
Using the Lasso tool, select individual balloons and
add dark gradients to shade them, then use a light grey
colour-picked from the clouds to show luminosity (where
light has bounced from the clouds and transferred colour
to the balloons). Now use a small, light grey Airbrush in
order to add reflections near the base of the balloons.
9 Over the line
Locking the Lines layer (click the chessboard icon
in the Layers palette) prevents you from adding or
subtracting pixels from the layer, so you can colour the
lines easily. Choose shades darker than the contents (eg,
dark green for the tortoise’s skin, dark navy for his shell)
and paint over all the lines in your image.

10 Dress to impress
Add more gradients on the Overlay clipping
mask layers on the woman’s clothes and hair, the bird
and all other areas of the image. Use a small light blue
Airbrush to add reflective details to her dress. This isn’t
quite strong enough on the Overlay layer, so draw it on
the normal shading clipping mask layer as well.

“Locking the Lines

layer prevents you
from adding or
subtracting pixels
from the layer, so you
can colour the lines
easily. Choose shades
darker than the 11 Blur the edges
Not all shading should be hard edged; the

contents and paint balloons and woman’s thigh have soft edges, therefore
should have a soft transition. Lasso the shading’s edge
over all the lines in and use a Gaussian Blur of 11.2 pixels. Repeat this for
the balloons with a five-pixel blur, and where the
your image” shadow arcs over the shell with a 15-pixel blur.

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 Adding variation 12 In the red
On the Skin’s Overlay layer, add some
small red gradients to indicate areas of increased
13 Cool shades
Select the sunglasses with the Lasso tool,
create a new layer underneath lines and fill the area
with Overlay layers blood flow, ie the woman’s nose, cheeks and fingers. with a medium blue, making the lenses translucent by
Our eyes are drawn to warm colours over cool ones, setting the layer to Multiply and 81% Opacity. Add
A lot of the rendering here is done on Overlay
so this will bring her further into focus in front of the some highlights with the gradient and Airbrush on a
layers; they allow you to add detail, texture and
variation without obscuring the work you’ve cool blue hues of the background. layer above this.
made on the layer below. This is particularly
useful for getting variation by using gradients; if
you look at anything in nature, the areas in both
shadow and light contain more subtle variations
than just their base colours. For example, look
closely at your skin and you will see it’s actually
quite mottled. If you suggest this in your art, it
will strengthen it greatly. The best example of
this is where we added an Overlay layer to add
the texture to the tortoise’s skin. We had already
established his shading but needed to add
texture to him without undoing the work we had
already done, so we added a new overlay layer to
add translucent texture on top of the shading.

15 Shell shock
Scanned images are great for adding texture.
Add a new clipping mask layer to the shell (above
shading and overlay), copy and paste the contents of
‘concrete.jpg’ in. Set the layer’s blending mode to Soft
Light so that the shading and colour shows through.

14 Gimme some skin

In order to make the skin look slightly less
digital, use the skin texture brush to add variation on skin
overlay. Pick various dark and light shades from the skin
and dot the brush randomly to simulate pigmentation.
Repeat this on the balloons, colour-picking different
shades of blue.

16 Gimme some (wrinkly) skin

Use the tortoise skin brush at 53% Opacity to 17 Good set of pipes
Chrome acts like a warped mirror. Show the

add a mixture of light and darks to his skin on a new
overlay clipping mask layer. Pick shades from the clouds
to create ambient light on him. Use the dotted soil brush
to give a speckled, shimmering effect, and the ground
texture brush to add scratches.
reflections of local colours (eg, the sky, shell, etc) on the
exhaust pipes. Create a new layer above the Lines layer
and use a white Radial Gradient to add glare to the tops
of the pipes. Use the scarf texture brush to add detail to
the scarf.
18
Clouding over
Add the vapour trails using the SmokOo
brush with 55% Flow to increase the brush’s spacing for a
more randomised look. Add clouds with the inca_trail
brush. Start with a light purple base and build to white
on the top to make the clouds look deeper. As too much
detail will draw attention, lasso and blur them a little.

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 insight
Anti Phylum Cnidaria: “Jellyfish
and smoke surround the model.
Coupled with the lavish lighting
effects, this creates a highly
Website: www.anti-ink.com ambient atmosphere”
Clients: Pepsi, Arne & Carlos, Sony Ericsson

The Anti design studio is a rising star in the global commercial industry. Founded
as recently as 2008 when producing a new visual identity and website for
Norway’s largest photo agent, Tinagent, it has gone on to work for some of the
commercial industry’s biggest. Kjetil Wold, Anti’s creative director, explains: “We
are lucky to work with lots of different clients, both national and international,
such as music labels Fysisk Format, Houseselective and the Norwegian club and
gallery scene. We also work with Norway’s largest music chain Platekompaniet,
PepsiCo in New York, Sony Ericsson in Singapore and have started a new project
for Visa in Tokyo, together with DRILL Tokyo, Japan.”
It’s clear to see that the team have upped their creative ante, as Wold admits:
“We like to work with clients who are willing to be market leaders in their
particular segment of business, and therefore we search for a type of interference
in the work we deliver. Once we have worked on the best possible solution for our
clients, we end up with a variety of styles. When selecting our favourite work
ourselves, you can see that we have a passion for dark, intricate and mysterious
styles with a cutting edge.”
Anti produces these styles through a multitude of mixed-media techniques,
including many digital elements. Wold reveals: “Our techniques are often based
around photos combined with either vector or hand-drawn illustrations.
Photoshop is also almost always our last pit stop for fine-tuning our work.” He
finally adds: “I think it’s important to describe our working approach, which is
formulated through our name Anti, short for A New Type of Interference. This is
our way of approaching any client brief.”

bulism:
Somnam e
in tr icat
“This
ipulation
photoman
e w as co nstructed
piec ty of
g a va rie
usin
pictures
stock, from scapes
nd
of lions, la
and smoke”

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020-021_AVP_61_Insight1.indd 42 18/8/09 17:47:41

 Wrapped in
plastic: “Mixe
d
media and
typography were
used here, along
with photo stock
of
black rubbish ba
gs
to surround the
central model”

LSD VS GO
M
“A cover crea A:
ted
for the first
year
of the magaz
in
Revista Gom e
a
Brazil, editi
on
12. Revista
Goma is a fre
e
magazine
dedicated to
electronic m
us
They wante ic.
d
something
colourful th
at
mixed the
techniques
“

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020-021_AVP_61_Insight1.indd 43 18/8/09 17:48:18

 Step-by-step
Workshop

r e ateer
C covthis
thFeinsdticoiumtahgoeewaftreodmfrooismur
fantaer was crnish in th
cov art to fi shop
st Work

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044-047_AVP_61_TypeWS.indd 44 18/8/09 17:59:30

 TYPOGRAPHIC
PORTRAITS
Get creative with text and take typography to the next level
T
ypography is not only choosing a nice
typeface, it’s about how we arrange
the type in the layout, choosing the
right size, weight and type of font to transmit
the message in the easiest way.
It’s really impressive how you can express
your thoughts and mood by arranging text
within a shape. Here, we’ve taken inspiration
from a great design trend appearing more and
more around the web and used typography to
create a portrait.
This walkthrough will aim to show you that
by experimenting with the weight, size,
spacing and opacity of type, you can create
1 Prepare your reference image
Open the image that you will use. Apply
Image>Mode>Grayscale to your image, then use
Levels and Curves to heighten the contrast,
making areas of light and dark easy to evaluate.
3 Cutout
Select Menu>Color Range and
choose the shadows. Inverse the
selection, apply a Quick Mask then
erase the masked areas around the
model using the Brush tool set to
white. When you have the model
masked, exit Quick Mask and Select>
Feather by 3px. Copy this and open a
new document. Paste the image as a
new layer above the Background layer.
Save the document, as we’ll be working
in this one. The cutout doesn’t have to
be precise, as it is a reference guide.
044-047_AVP_61_TypeWS.indd 45
highlights, shadows and shading to add depth ON THE DISC
to the image. You can apply this to any portrait
We used an iStockphoto.com
images that you like, too. model (image number
Our words and font choices within this ‘9390718’), but we have included
image work well with the portrait that we’re some models that you can use
on the disc or pick any portrait of
aiming to create, but you are encouraged to your own to start.
experiment with your own typefaces and
words to come up with your own unique OUR EXPERT Stacey Grove
results relevant to the portrait that you are Stacey is Advanced Photoshop’s designer. This month,
working towards. she creates the fantastic typographic portrait that you can
see on our cover and shows us how she did it in this in-
There is room to play with typefaces,
depth tutorial. The first of many tutorials showcasing her
textured backgrounds and gradients, and you Photoshop skills, we hope!
can be as detailed as you like. Try out these
steps and let your imagination flow.
“It’s really
2 Shadows and highlights
Go to Image>Adjustments>Shadow/ impressive how
Highlight. Play with the slidebars so you can see
sufficient highlights and shadows. For Shadows
you can express
we used: Amount = 25%, Tonal Width = 35% and your thoughts and
Radius = 48px. For Highlights we used: Amount
= 34%, Tonal Width = 0% and Radius = 78px. mood by
arranging text
within a shape”
4
Brightness and Contrast
Now we have our reference guide, we’ll
need to accentuate the highlights and shadows
to make it easier to follow with regards to text
placement. Open the Brightness/Contrast
adjustment from the Image>Adjustments menu
and boost the Brightness +10 and Contrast +20.
Your guide is now ready to start layering your text.
45
Advanced Photoshop
18/8/09 18:00:01
 Step-by-step
Workshop
5 Lower opacity of reference layer
Lower the Opacity value of your reference
layer so that text is easily visible when placing it.
Start with your main hits larger than the rest and
make sure each line is on a separate layer, as you
may need to rejig the placement or change the
typeface later on. You’ll also need to ensure that
you save at regular intervals, too.
6 Text placement
After arranging your main hits where you
want them, place more text slightly smaller just
behind the main hits to make these stand out a
bit more. You could, if you like, add a slight Drop
Shadow to the main lines as adjustment layers to
make them pop more, but this is optional and
can be removed later if you want.
7 Start layering up the shadows
When you’re layering up your text, the trick
is to have the text smaller, closer together and at a
heavier weight in the shadowed areas of the
reference image, and the text larger, spaced
further apart and at a lighter weight in the
highlighted areas. This will create the depth to
your final image otherwise it’ll end up looking flat.

Font choices

9
The fonts we used in this image are
Myriad Pro, ITC Slimbach Book, Stafford, Build up the eyes
Univers, Timeless, Whitney, Stainless, After you’ve completed the hair, your
Poynter and Gill Sans. All these fonts

8
Progress report
As you build up the hair, hide the reference layer occasionally to see
your progress. You need to be able to see the shadowed and highlighted
areas for the overall effect. For ease of use, group the layers in the Layers
palette according to the areas of the portrait you are working on and
continue this process through the tutorial.
portrait needs a face. We started with the eyes.
work well together in our opinion, as they Using the same method as the hair, keep the text
are all quite clean and work with the
very close together in the dark areas and keep the
female face. In our case, we had to ensure
white areas free. Use the Transform>Rotate tool
that they would also work as a cover, but
this isn’t going to be a concern if you’re on the text to follow the shape of the eye. Don’t
creating a personal piece so you can have feel like you have to use different words. To save
a bit more fun. time, just duplicate text layers and transform. Play
It’s all down to your personal with the Opacity of the text for the lower lashes.
preference and you can create unique
portraits using different fonts. If you’re
using a portrait of a man, for example,
you may find chunkier fonts work better.
To check out other examples of
typographic portraits and see how others
use type creatively, take a visit to http://
creativenerds.co.uk/.

10 Eyebrows and
under-eye shading
Do the same with the eyebrows as you did with
11 Start on the nose
The nose, we found, is the trickiest part
of the face to work on. You have to use all the
“It’s down to your the eyes. Try using longer words to fill the shape techniques that you have learnt so far. Shading is

own preference
and use the Transform>Warp tool to follow the a big factor. Use the Transform tools to shape
curve. For the shading under the eye, play with around the nose, but also play with the Opacity

and you can create the Opacity value of the text layers and weight of
the font, as the shading has to be significantly
value of the text to blend into shading.

unique portraits lighter than the main features of the face.

using different
fonts. If you’re
using a portrait of a
man, you may find
chunkier fonts
work better”
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 12 Repeat the shading
Try duplicating the text layers
for the other side of the nose to save time and
play with the Transform tools to shape the text.
When it comes to the shading, keep the text’s
Opacity value quite strong closer to the nostrils
and then duplicate the text, lowering the Opacity
each time when you’re placing further away in
order to show gradual blending.
13 Lovely lips
To do the lips, follow the same steps
you took to create the nose. Focus on the
shadowed areas first and then work on the
shading after. It takes a lot of time to get these
facial features spot-on, but it’s worth it to get a
realistic effect in the end.
14 Face progress report
Now that you’ve completed the face,
hide the reference layer to view your progress. You
can see that the face is starting to take shape and
you can see the distinction between the main
features and the shading. Now that face needs an
outline and some final polishing.

15 Give her an outline

Now the main features are complete,
you need to give her an outline. We found that
16 Cheekbone and neck shading
To add more depth to her face, we need to add some shading
to show the contours of her cheekbones. Use the same word for
“It takes a lot of
time to get these
using the smallest word works best. Keep
duplicating and transforming the words to follow
consistency and layer up the words angled to show the direction of the
shadow, changing the Opacity and referring to the guide for natural
facial features
the shape. Her chin looks a bit flat, so you’ll need shading. Do the same with the neck, blending from heavier text weights spot-on, but it’s
to add some shading here. Repeat, gradually
changing the Opacity value of the text, and follow
and Opacity under her chin to a lighter weight and lower Opacity value.
worth it to get a
the shape to show a gradient.
realistic effect in
the end”

19 Background
Add a Gradient Fill adjustment layer
above the Background layer and below the text
layer. We choose a white to pale blue/green
gradient, Reflected, Angle = -47.73 and Scale =

17
150%. Finally, select the adjustment layer’s layer
Flatten – if you dare mask thumbnail and apply a Sandstone texture (Fi

When you are happy, highlight all the
text layers (excluding the Background) and select
Layers>Merge Layers (but keep a layered version
for the future). Use the Burn tool with the
Exposure set to 100% over the shadowed areas to
accentuate the shadows.
18
lter>Texture>Texturizer) to add more depth.
Play with gradients
Change the Image>Mode to CMYK,
then apply a Gradient Overlay layer style to the
new text layer. Play with the gradients, direction
and Blend Mode of the effect in the Layer Styles
dialog box. Here, we’ve used the Linear Light
Blend Mode.

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044-047_AVP_61_TypeWS.indd 47 18/8/09 18:01:08

 insight

the last witches is trying

The Bitch: “One of Eraser: “The idea was to create a
cial age nts. I’ve used around 35
to escape spe dynamic scene with two characters and
EM A 4D ren der s and then painted
images, CIN image to get an bits of detail – in this case, drops of
95 per cen t of the
over almost rtesy of Vincent saliva. The image was created in
The ima ge was cou
HDR effect. Photoshop from two photos and the
w.s tud io.e s)”
Boiteau (ww saliva was hand-painted”

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042-043_AVP_61_Insight2.indd 48 18/8/09 17:50:45

 Pin-Up 30
00: “I
painted ov
er the girl
for an old-
school
look. The cy
be
and small U rbike
FO
created in CI were
N
4D and then EMA
tw
in Photosho eaked
p”

Adam Spizak
Website: www.spizak.com
Clients: Nokia, Sony Ericsson, Bet1128.com

Adam Spizak can’t recall never having a computer at hand to help him realise his
active imagination. First came the ZX Spectrum, then the Atari 800XL with the
popular Commodore Amiga 500 soon to follow. “When I bought my Amiga 1200,
which was around the mid-Nineties, friends showed me software called ImageFX
developed by Nova Design. I was so impressed that I put away all my computer
games and started to play with the software.”
From then on, Spizak knew he wanted to be a digital illustrator. He started to
realise his potential shortly after, when creating a poster for the local philharmonic
orchestra’s upcoming events in 1998. This certainly let him cut his creative teeth, and
since then Spizak has studied IT at The Academy of Humanities and Economics in
Łódź, Poland, worked on commercial projects for mobile phone giants Nokia and
Sony Ericsson, and now works as an interactive designer for PartyGaming UK.
Photoshop is integral to all he creates, as he explains: “In my case Photoshop
bridges all my work. I try to combine as many different tools as possible. I constantly
jump from one to other and I need to have a tool that will bind it all in one time and
space. My illustration usually starts in Photoshop, mocking up images and hand
drawings. After that, depending on the style, I use CINEMA 4D, ZBrush or some other
tools to get the desired effect, at the same time merging it all in Photoshop. Going
back and forth, I repeat this process many times until the image is complete.”
He describes his style as surrealistic collage: “I like to have a story in my images. To
be honest, I won’t start a new piece if I don’t have this backbone narrative, as I really
don’t like to produce empty, meaningless images.”

49
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 Step-by-step
Workshop

DRAMATIC
LIGHTING
Learn how to add a vibrant style to your
photomanipulation projects

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050-054_AVP_61_DramaticLightWS.i50 50 20/8/09 18:29:22

 ON THE DISC
There are no files on the CD, but
we will tell you where each of
the images that we have used
have come from as we go
through. You can source the
same stock or find your own for
a personal finish.

OUR EXPERT Pete Harrison

Aeiko is the online creative identity of UK designer Pete
Harrison. Since graduating from university, he has
worked in agencies in London and freelanced mainly in
graphic design, typography and web design for a variety
of high-profile clients. He currently resides in South
Devon designing and developing his clothing label
Funkrush (www.funkrush.com).

T
his tutorial is all about lighting, which
can play a major part in adding effects
to an image or be the basis of an
image. Lighting is our speciality and you can
see this in most of our work. Colour also plays
an important role when working with light.
We will look at how to create various effects,
from pixie dust and magic effects to starbursts,
sparkles and clever ways of using stock
photography to create some dynamic lighting
effects. You will be using the Pen tool in a
couple of different ways: one way is to create
lines or streaks of light by making paths and
then stroking it, which can be applied to a
variety of uses. We will look at using multiple
colours and Gradient Overlays and how to
apply these to an image in an interesting way.
Hopefully, by the end of this tutorial you will
have learnt a variety of techniques that you can
apply to any photo or illustration to enhance
and add a bit more movement and dynamism
to it, making it seem more interesting.

Stock photography
Always be on the lookout for stock photography you think you
can use as effects in your artwork. When using stock
photography, set the blending mode to Lighten or Screen,
which will only show up the light areas of the photo, especially
on a dark background. Have a folder on your computer with
various stock photography examples; include everything from
paint splats, fireworks, starry nights, smoke and club lighting –
anything that can be used and modified for use in your artwork
to create dynamic lighting and effects.

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050-054_AVP_61_DramaticLightWS.i51 51 20/8/09 18:29:52

 Step-by-step
Workshop
1 Let’s begin
Open your model image (ours is from
iStockphoto.com, image number ‘8681194’),
drag it into Photoshop and place it onto the
canvas. We will be adding our own colours so we
need to desaturate it; hit Cmd/Ctrl+U and drag
the Saturation slider to -100 and click OK. Click
Image>Adjustments>Brightness/Contrast,
making the Brightness -10 and Contrast 20,
then hit OK.
2 Use the Pen tool
We need to cut out the model, so click on
the Pen tool and trace around the model
starting from the left, then close the path. Ctrl/
right-click on the path you just created and
choose Make Selection, setting the Feather
Radius to 0 pixels. Copy and paste the selection
into a new layer. Now create a blank layer under
that layer and fill with black.
3 Background
We want to keep some of the original
background, especially around areas like the hair,
so click on the black layer you just made and click
Layer>Layer Mask>Reveal All. Use a soft round
brush and a black colour to paint onto the mask
gently around the model to give almost a soft
glow of the original background around her. You
can use white instead of black if you make any
mistakes or want to change the mask.

4 Add some paint and texture

Open the ink splat image, then go to
Select>Color Range, click on the black and
move Fuzziness to 200, copying this selection
into the canvas. Move this layer behind the
model, then duplicate the layer and reposition it,
fading the opacity a little. Duplicate the layer
again and invert it, then arrange it on the canvas.
Duplicate both the black and white layers a few
more times. Apply Transform and Warp to some
layers, give some Outer Glows and apply Scale to
others. Include texture and light bursts with the
white layers.
5 Repeat
Use some different paint stocks, repeating the previous step but
click on the Layer Style option and then Color Overlay and Gradient
Soft round brush
Overlay. Apply these overlays to some of the paint stocks, but give them In most of this tutorial we use a soft round
bright colours, maybe placing some of these layers in front of the model, brush. We created this by just using a
too. You can find some great paint stocks from www.sxc.hu. black circle, blurring it to make it softer at
the edges and then repeating and
blurring again. You can even add a black
Outer Glow. Define it as a brush (Edit>
Define Brush Preset) so it appears in your
Brushes menu, and use it through the
tutorial in any colour and a wide variety of
light effects.

“Lighting can play

a major part in
6 Add lines of light
and colour
Now we are going to start

adding effects to creating some paths, so

grab the Pen tool and start
an image or be the drawing a smooth curve

basis of an image.
around parts of the photo.
We started with the guitar.

Colour also plays It doesn’t have to be too

accurate either, and we will
an important role” run you through why in the
next steps.

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 7 Strokes and paths
Click the New Layer button and then open
up the Brushes menu, selecting a round brush
with a Spacing of around 10% and drop the
Diameter down to create a thin line. Click on the
Paths tab and then on the Work Path layer you
just created. Click the Stroke Path button. Once
the path is stroked, delete the path.
10 Lines of colour
Select the
Polygonal Lasso tool and start
drawing lines around areas of
the guitar with the selection.
Close the selection and fill
with white. Repeat this
process to make it look as if
lines were wrapping around
the guitar, making some
extend off the canvas. Give
these a Gradient Overlay in
different colours. We also
used the same technique to
create some lightning bolts.
12 Use stock as light effects
Source some lighting effect images
and import them onto the canvas. Give each a
Screen blending mode and arrange onto the
canvas. Use a mask layer or soft brush to erase
areas that don’t work so well and get rid of the
straight edges of the photo’s border. The hue
was changed on one image; you can transform
them and duplicate the layer for more effects.
050-054_AVP_61_DramaticLightWS.i53 53
8 Outline more areas
Repeat the previous step, but with other
areas of the photo. We did more of the guitar.
Once you have quite a few of these layers built
up, start adding some effects to them. We used
some Color and Gradient Overlays, and also
blurred some of the layers. You could also give
some layers Outer Glows to create a neon effect!
Basically, you want to make some parts of the
image just appear to be created by lines of light.
13 Start to add coloured lighting
Create a new folder and a new layer
in the folder. Choose a soft round brush and
white colour then click onto the canvas,
arranging it in a good position. Repeat this
using various colours, setting the blending
mode to Screen on each layer. Use smaller
ones around the neon outlines on the guitar.
Scale some and maybe add Outer Glows, too.
9 Hand-draw some elements
Continue this method; you could even hand-draw in some of the
lines, since they are only becoming outlines. You don’t need a tablet, just
use the mouse. Alternate the size of the brush by using the [ and ]
buttons on your keyboard and keep adding different Gradient Overlays,
but try to keep them brightly coloured so they stand out against the
black and white.
“When using the curves
effect or adjustment layer,
play around with the
different channels”
11
Add smoke as an effect
Import a photo of a smoke effect
(ours is from iStockphoto.com, image number
‘128685’) into the canvas. Change the blending
mode to Screen and go to Layer>Layer Mask>
Reveal All. Use a soft round brush (at 10-20%
Flow) to erase the edges and make it look
smooth. Place in the canvas and repeat, maybe
transforming some, and play around with the
mask to get a good effect.
Quick tip
When using the curves effect or
adjustment layer, play around with the
different channels, R, G, B and overall. You
will see how much a difference each of
these makes to the image and can create
some radical colour effects. Always have
Preview checked so you can see the
difference on the actual image.
53
Advanced Photoshop
20/8/09 18:31:02
 Step-by-step
Workshop
14 Add some more magic
Select a white colour again and create a new layer at the top
of the Layers palette. Open the Brushes window and change the
Spacing to 100%. Click on Shape Dynamics and make the Size Jitter
80%. Under Scattering, make Scatter = 440%. Start brushing areas on
the canvas, alternating the brush diameter. Give some layers Outer
Glows, using the [ and ] keys to alter the softness of the brush.
15 Add some lines of light
Use the Line tool and Brush tool to
make some straight lines. Do each one in a
different layer. Blur some of these using Motion
Blur and Gaussian Blur and then merge some
of the layers. Duplicate a merged layer and
rotate so it crosses the original. Change the
Opacity value of some of the layers and maybe
erase some parts, too. We applied a Color
Overlay to a group of them, duplicated that
layer and changed the hue, then erased half of
it so they both blended into each other.
16 Lighting on paths
Now we are going to start creating
some paths, so grab the Pen tool and start
drawing a smooth curve around the model.
Click the New Layer button and then open up
the Brushes menu, changing the Spacing to
around 10% and drop the Diameter down to
create a thin line. Click on the Paths tab and
then on the Work Path layer you just created.
Click the Stroke Path button. Repeat this process
and maybe give some Outer Glows.

17 Dynamic diagonals
Use the Rectangular Selection tool
and make a long black rectangle, filling this with
black. Hold the Opt/Alt key and drag to the right
the same width as the rectangle you just
created. Merge these two layers (Cmd/Ctrl+E)
and repeat until you have ten, then merge all
these and place underneath the last lot. Repeat
this until you are happy, and then Transform
(Cmd/Ctrl+T) and make them smaller. We also
rotated ours 45 degrees, erasing some parts
using any brush. Maybe try different Eraser
brushes for different effects.
18 Sparkles
Using the soft brush we have been
using with the Spacing set to 14%, hold Shift
on a new layer and drag the brush down to
create a straight line. Apply Gaussian Blur at
50px and use the Eraser tool to erase some of
the ends of the line. Cmd/Ctrl+Shift+T and
rotate 45 degrees. Opt/Alt-click the layer and
Flip Horizontal to make an X shape with the
lines. Merge the two selected layers (Cmd/
Ctrl+E) and hit Cmd/Ctrl+T to make it smaller.
Place this shape on the canvas near a light
burst and Opt/Alt-drag and transform a few
smaller ones. Place these around the
composition, too.

19 Blur and focus

Copy and merge the whole canvas
and paste into a new layer, placing this at the
top of your layer stack. Apply Gaussian Blur at
around four pixels. Go to Layer>Layer Mask>
Reveal All. Select black as your main colour and
a soft round brush, then start masking out the
blurred layer by painting black around the
guitar and main figure.
20 Final touches
Go through the previous steps and
repeat any to add final elements. We added
more light beams and a few space effects in the
background, then applied a Curves adjustment
layer. Move the curves into the right quadrant to
increase input and make some of the colours
pop and change the feel of the image a little.

“Be on the lookout for stock

photography you think you
can use as effects in your
artwork to create dynamic
lighting and effects”
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 Step-by-step
Workshop

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 CREATING A
MINIATURE WORLD
By paying attention to details, it is possible to create a miniature
world that is interesting without being overdone

I
n this tutorial, we will learn how to create
a miniature world in the palm of our
hands. All work will be done using
Photoshop (CS2-CS4 recommended), while a
Wacom or other tablet is highly recommended
as well. All blending modes used are standard
to Photoshop CS3 or later.
Throughout the course of the tutorial, we
will concentrate on adding important details to
make the image a success. Elements like
lighting and shadow are discussed in detail.
Without the proper use of these elements, the
image risks looking flat. When creating this
image we want to establish a sense of depth
and realism, both in the miniature world and
in the image itself.
Please remember that the steps written
here are meant to guide you in creating a
similar image. We will cover some basic
elements that such an illustration requires and
also point out elements that are easily
interchangeable. Remember to add your own
specific touches. The world is full of different
elements that can be incorporated into an
image like this. Don’t limit yourself to what
you see here. As always, have fun and don’t be
afraid to bend the rules or even break them if
you are inspired to do so.
ON THE DISC
On the cover disc, you will find
the hand image. You will also
see a list of the other images
used in the tutorial, which can
be downloaded for free from
www.sxc.hu and www.
cgtextures.com.
OUR EXPERT Rob Shields
Rob Shields is a freelance illustrator located on the east
coast of America, but will soon be pursuing his Master’s
degree in Media and Communication in Switzerland. For
his full portfolio, please visit www.robshields.net.

1 Simple start
Open up the ‘hands.tif’ file. We have
already extracted the hands from their
background, so you can simply go to Select>
Color Range and select White. Hit Cmd/Ctrl+X
and extract the image. Open a new image with
a black background and place the hands into
the new image.
2 World at your fingertips
Open the Japanese Temple image.
Select a section of it and place it within the
hands. You will notice that this selection might
be much larger than the hands itself. Hit Cmd/
Ctrl+T, Ctrl/right-click and select Warp to mould
the image into the hands. Don’t be afraid to
erase pieces as needed.
Quick tip
There are no limits to what you can use in
your photomanipulation for this tutorial.
The tutorial will get you to grips with the
basics, but use your imagination to work
with stock that inspires you to get a unique
outcome. Turn to page 60 to see how you
can showcase your own miniature world.

3 Add land
In the same Japanese Temple image, take a
selection from another area. Using the same
technique discussed in Step 2, and fit this
imagery into the hand as best as possible. It’s
okay if a little of it spills over. We will correct this
in later steps.

“Remember to add your own specific

touches. The world is full of different
elements that can be incorporated into
an image like this”
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 Step-by-step
Workshop
4 Fit in
In this step we are going to concentrate on
making the image fit a bit better into the hands.
Erase some of the upper portion of the image.
Don’t worry if some of the cuts don’t make sense.
We can hide these later. If there are any gaps
where there shouldn’t be, use the Clone Stamp
tool (S) to fill them in.
5 Bonsai
Add the Bonsai Tree using the link found
on the CD. Using Select>Color Range, select
White and hit Cmd/Ctrl+X to extract the tree.
Resize it to fit into the image. Remember, any
species of tree can be used here. This piece
serves as the first protruding 3D element so
anything tall will work.
6 Add clouds
Find an image with clouds in it and open
them in Photoshop. Make sure the clouds are
isolated and then select the layer and change the
blending mode to Lighter Color. Using the Burn
tool (O), run over the Shadows at about 25% to
make the clouds look more natural within the
leaves of the tree.

7 Waterfall
Open the Waterfall image. Before extracting this image using the
Lasso tool (L), start at the open spot in the hands and, extending down to
the bottom of the image, create a shape. Fill it with white and lower the
Opacity to about 45%. Now add pieces from the waterfall image to make
your waterfall look more realistic.
8 Earth
Open the image of the Earth and, using
Select>Color Range, select the background
colour and hit Cmd/Ctrl+X. Don’t worry about
the bit of shadow that remains, as it will be
useful later. Move the Earth into the image and,
using the Burn Tool (O), select Midtones at
about 45% and burn the lower portion of the
Earth so it fades into the black background.
Adding details
Throughout the process of creating this
miniature world, a number of details have
been added. Adding grass, for example, is
a good way to make the landscape look
more authentic. Realistic grass can be
achieved by creating a custom brush that
tapers at one end, giving the impression of
a blade of grass. Using different hues of
green is also important to make the grass
look more realistic. We also added a small
tree stump into the corner. This was
another element taken out of the
Japanese Temple image. When using
elements from different photos, remember
to use a Photo Filter to keep the overall
temperature of the picture the same. If an
image is too cool, use a warming filter and
so on.

“When using
elements from
different photos,
use a Photo Filter
to keep the overall
temperature of the 9 Solar glow
With the Earth layer selected, go to
blending options and add an Outer Glow. Select
picture the same. a light blue (cyan) colour and change the

If an image is too blending mode of the Outer Glow to Color

Dodge. Now open the image Aura and change
cool, use a the blending mode to Lighten. Hit Cmd/Ctrl+T.
Ctrl/right-click and use the Warp command to fit
warming filter” the aura around the Earth.

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 10 Adding stars
For the stars we are going to use the
site CG Textures. When downloading an image
from this site, be sure to get the highest
resolution possible to ensure a better-looking
image. After you have the image, use Image>
Adjustment>Desaturate to make the image
black and white. Place it behind the Earth and
you’re ready to go.
11 Add animals
When adding animals, you are free to pick and choose
whichever you like. Just make sure that the temperatures of the
images are correct. Also, be sure that the creatures interact with their
environment. You’ll notice, for example, that the deer are reflected in
the lake. This is achieved by duplicating them, flipping them vertically,
putting the layer on Overlay and adding a bit of ripple using
Filter>Distort>Ripple.
12 Better depth
Open the leaf image and extract the
leaves from the background using a hard Eraser
or the Pen tool. Using the Lasso tool, separate
the leaves by selecting one, Ctrl/right-clicking
and selecting Layer via Cut. Now select the
largest leaf and, using Filter>Blur>Motion Blur,
add a Motion Blur with a distance of about 30
pixels. Repeat for the other leaf, and duplicate
leaves as necessary.

13 Heron detailing
Next up, extract the heron from the
image (check the list on the CD so you get the
14 Curves
Go to Layer>New Adjustment
Layer>Curves. Select the box Use Previous “Pick and choose
right one) and reduce its size until it is to scale. Layer to Create Clipping Mask and hit OK.
Then, using the Clone Stamp tool, fix the dry Curve the line upward and hit OK. In the whichever animals
leaves that cover its tail. Now add its reflection
to the water as you did for the deer. Finally, use
Curves layer, select the white box and fill it with
black using the Bucket tool. Now using a white
you like. Make
the Burn tool in order to create a shadow under soft brush at Opacity of 35%, brush over the sure that the
its belly to make the lighting consistent with the
rest of the piece.
shadows in the hands.
temperatures of
the images are
correct and that
the creatures
interact with their
environment”

16 Final touches
Add a Warming Filter (85) to the entire image to create a
more uniform palette. Next, adjust the levels on the image to make the
brights brighter and deeps deeper. Zoom in and examine your image
carefully. Make sure everything is in place and that everything is

15
interacting with its environment.
In-depth detailing
Add the bamboo, making sure to use
the Burn tool to add shadow in the proper
places on the bamboo as well as on the hands
to help it all blend together realistically. Burn a
shadow below the tree and the deer, then add
small bits of grass to the deer’s feet. Add the lily
pad, pond grass and yellow flowers. Also, burn
the edges of the images to create a shadow cast
by the hands. It is these bits of detailing that
help to bring the image together as a whole, so
it is worth spending a bit of time here.

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 CREATE YOUR
OWN WORLD
Now you know how it’s done, create your own
miniature world and enter our readers’ challenge
Has this tutorial inspired you to
try creating your own world for
yourself? Well, if you think that
you have what it takes, then this is
the challenge for you. We want to
see your own worlds created using
the techniques explained in the
previous four pages.
We have supplied you with a
whole host of images on the disc
that you can use for this challenge
(noncommercial usage only),
as well as a pair of hands to get
you started. Here, you will find a
selection of animals, landscapes,
buildings, trees and water shots
so you can build up your own
world. However, we encourage
you to inject your own personal
stamp on the images by using
photos that you have taken or
sourced yourself.
The best images will be printed
in a future issue of Advanced
Photoshop – we can’t wait to see
what you come up with!
What you can win…
GoMedia (http://gomedia.
us/) has kindly given us a great
prize for the best entry to this
competition. Worth a generous
$105 (about £63), GoMedia
has supplied three of its
bestselling Arsenal products.
The prize includes:
Dust and Particles Textures
Worth $34.99
Spray Paint Textures
Worth $34.99
HDR T-shirt Templates
Worth $34.99
60
Advanced Photoshop
056-060_AVP_61_SmallWorldWS.indd60 60
Re
chaader
llen s’
ge
How to enter…
To enter the competition, all you
need to do is create your own
miniature world inside a pair of
hands. We have provided you with
a selection of images on the disc,
including some ready-made cutout
hands that you can use for this
challenge. However, you are not
limited to these and you are free to
use your personal photos or stock
imagery to create your scene.
Image requirements…
• 300dpi, 235 x 302mm
• CMYK to print
• TIFF or PSD files
Submitting your images…
You can email a low-res JPEG of your
entry to julie.easton@imagine-
publishing.co.uk with the subject
line ‘Small worlds competition’. The
high-resolution version, meeting
the above requirements, will be
requested if selected as a winner
or runner-up. You can alternatively
email a link to the high-res image on
your website or gallery page.
You can also send your entry by post
on a CD or DVD to: Small worlds
competition, Julie Easton, Advanced
Photoshop, Imagine Publishing,
Richmond House, 33 Richmond Hill,
Bournemouth, Dorset, UK, BH2 6EZ.
RTH
WO 5
0
Closing date:
$1 2 November
Terms and conditions…
By submitting images to Advanced Photoshop’s
‘Small worlds’ competition, you hereby grant Imagine
Publishing and, if relevant, clients to whom the relevant
work has been provided, an irrevocable, perpetual,
royalty-free licence to use such intellectual property in
relation to work similar or equivalent to the work. This
includes the right to showcase work on multimedia
formats. By submitting work, you also confirm that
your images do not infringe any copyright regulations
should they be published.
20/8/09 18:39:06
 insight

Phil Dunne
Website: www.lovetherobot.com
Clients: Barry’s Tea, Sony PlayStation, Candy Collective, 3 mobile,
Thinkhouse PR, The Austin Museum of Digital Art (AMODA),
Financial Times
Awards: Winner of public design competition for Sony PSP and
Candy Collective PSP & Me. Featured artist for the depthCORE
chapter, Heist

Phil Dunne is an illustrator from Dublin in Ireland, who uses a combination of both
traditional and digital techniques in order to create his artwork. “All of my work is
created with pen, pencil, ink and watercolour, and then combined together in
Photoshop CS4,” he explains.
Dunne graduated from college in 2003 – he studied Visual Communications at The
National College of Art and Design – and had a few little illustration and design jobs
here and there, but his big break came after he won a public design competition for
Candy Collective and Sony PlayStation in 2006. Recently, he has been working on a
big self-initiated project: “It involved me doing photography for the first time, which
was really exciting,” he says. “I photographed a fantastic Irish model called Sam Homan
in a professional studio setup and created illustrations based around the photoshoot.
It was a project that would merge my love of comic book art and manga, and my
great respect for fashion photography and male models. I’m very excited about
showing these illustrations, as they mark a major step forward in my work.”
Technique-wise, Dunne explains where Photoshop comes into the equation: “My
illustrations start with a pen and paper. I draw my images to a large scale and then No Going
Ba
chapter calle ck: “Another of my subm
scan them in into Photoshop at a high resolution. I use Photoshop in a very basic d Heist. This is issions to the
desperate ar called No Go depthCORE
tist who is ab in
manner, only using a few layers and different blending modes. I create my own work. Origin out to rob a ba g Back, which is about a
ally a persona nk to pay for
light of day, I l pi hi s love of his
brushes from scans in Photoshop to give my work an individual look.” touched up th ece that I decided would
to the chapte e line work in never see the
r. It has been Photoshop an
my most posit d
ively received submitted it
piece to date
”
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 Untitled: “My recent big self-initiated project, where I photographed
model Sam Homan and created illustrations around him. The line work was
inspired by my love of comic book art and manga. I also added in scans of
watercolour paintings and created new brushes in Photoshop from
brushwork with ink. These aren’t really finished, they are a work in progress!’”

W
“Created hat you th
as ink
Amber Lo a greeting card on grows:
tus. Anti for the p
and arch q u e medic ublisher
ina
combin ite ct ural illust l, botanical
ed to cre rations w
ate this
surreal v ere
ision”

s to
of my submission
Formula: “One ctive, called Formula
lle
the depthCORE Co ed Heist. It’s about
titl
for the chapter en
rching for a secret
three people sea to the
d a vintage look
formula. I wante t every thi ng muted
kep
whole piece and the co lou r palette.
wi th
and quite sinister led
the formula scribb
You can kind of see created my own
e. I
across each imag ce”
shop for this pie
brushes in Photo

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 Q&A

Helpdesk
OUR EXPERT Kirk Nelson
Kirk has been a graphic artist for over 11 years
in the Washington DC Metro area. He writes
tutorials for our sister publication Photoshop
Creative, and opens letters, checks emails and
hangs around the AP forum online, all for the
good of our Helpdesk. If you’re having
quibbles with Photoshop, Kirk’s your man with
the plan!

This month, our Helpdesk graphics guru takes on natural phenomenon as well as
artificial attitudes. Come and see what he’s got up his sleeve

Sun eater GRADIENT GRIEVANCE: A by humans. I’m guessing you’ve used Layer>New Fill

Q Hey Helpdesk,
I’m loving the magazine; it’s my go-to when I
need some inspiration or am itching to learn
something new. Anyway, I was really amazed at some of
the photography from the solar eclipse last July. Those
images were really stunning; some were so good that
they made me wonder if they were even real. And
following that thought, I wondered how easy would it be
to fake one in Photoshop. So, I guess I’m asking if you had
a favourite solar eclipse technique you would be willing
to share?
Timothy Burrows
Gradient Fill layer can be moved,
but only if you know how
Layer>Gradient to produce the gradient layer. The
apparent drawback to the technique is that the gradient
doesn’t respond to the Move tool. At all. No matter how
hard you try. There’s a strange trick to it, and I have to warn
you, the reveal can be a bit frustrating. Are you ready? You
can only move it when the Gradient Fill dialog box is
open. Seriously, that’s it. Try it. Double-click the layer
thumbnail to open the dialog box, then go to your canvas
and try to move the gradient. Yes, I know. You’re welcome.
Show All Menu Items... please?

A
Greetings Tim, that eclipse was quite
inspirational, wasn’t it? Those events have been
inspiring people for thousands of years, and
Q My Photoshop hates me. That’s all there is to
it. It refuses to list the full menus. Instead, I get
an abbreviated set (that never contains the
item I need) and a fun little entry at the bottom: Show All
not always in a good way. I’ll be honest, I’m glad your Menu Items. Clicking this entry will then reveal the full
inspiration led to Photoshop and not to some bizarre menu – but only for that moment! The next time I open
blood sacrifice! the menu, it’s back to the shortened form again. I can’t
Okay, not surprisingly this technique starts off with a find any settings in my menu preferences to address the
square canvas filled with black. Set your Foreground Color problem. Please help me change this.
to a pale yellow and Background to Filter>Render>Clouds to fill the selection with high- Scott Winters
Color to black. Create a new layer contrast yellow and black clouds. Cancel the selection and
tip
Quick A
and a circular, slightly feathered go to Filter>Blur>Radial Blur. Set the Blur Method to Zoom Scott, I can assure you that Photoshop doesn’t
h a selection in the centre of it. and Amount to 100. Now use the Ellipse tool to create a actively hate any one person! It’s equally
g wit
h en workin , setting Hold down Alt/Opt and go black circle covering all but the edges of the corona. To objectionable to all of us.
W sh tip
u sto m bru Direction enhance the effect even more, add layer styles of a soft Your menus aren’t broken, it’s Photoshop’s method of
c o
ngle t tip
the A e the brush yellow Outer Glow and a faint orange Inner Glow. attempting to save screen space for users with low-
m ak th e
will t itself
to resolution monitors or folks using screen-capture software
orien ovement to generate video tutorials. The overall effect can be
m
pen’s Immovable gradient downright frustrating because it nearly doubles the

Q Dear Helpdesk,
I’m having trouble wrapping my head around
some of the more intricate workings of
Photoshop. So I was hoping you could help me. When I
have a layer filled with a gradient, why can’t I move the
gradient around? This seems to be particularly
troublesome when using the Radial Gradient because it’s
fixed in the middle of the canvas! Please tell me what I’m
doing wrong.
Hannah Kirkpatrick

TOTAL ECLIPSE OF THE ART: It’s a sign of the
apocalypse!… Or just another day at the Helpdesk
A
Hannah, one of the things you’ll realise on your
path to Photoshop mastery is that the program
contains several hidden little controls that are ALTERNATE WORKSPACES: Save your sanity! Use any
not well documented and seem almost undiscoverable Workspace other than Basic

Send your emails to us at advancedpshop@imagine-publishing.co.uk or post a message on our forum board at www.advancedphotoshop.co.uk/forum.

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BEFORE
BAREFACED CHEEK: The difference between a good
shave and a bad one? Two days. Or a custom brush setting
number of mouse clicks required to accomplish anything.
Just about every time you pull open a menu you have to
intentionally expand it, essentially opening the menu
twice every time. The solution lies within the Workspace
presets. Go to Window>Workspace and choose any
setting other than Basic. Your menus will be back to
normal again.
Grow a two-day beard in minutes
Q Hey Helpdesk guy, I’m trying to add a two-day
beard to a photo of mine; you know, going for
that rugged and handsome look. I tried to
copy and paste a beard from a different photo, but it
didn’t really work out so well. Any advice?
Matt Cronby
A
It occurs to me that the easiest way to do this is
also the most obvious. Don’t scrape a razor
across your face for a couple of days and then
take a picture. But I’m guessing our friend Matt here may
need an alternate solution because that one doesn’t work
so well for him (perhaps because he’s a bit young for facial
hair but doesn’t want his Facebook friends to know that?).
In any case, the best method I’ve found is to use a
custom brush. The settings are particularly important.
Open up your Brushes panel and select the Soft Round 9
brush and set the following settings:
Under Brush Tip Shape, set the Roundness to 30%,
enable Spacing and set to 400%. Under Shape Dynamics,
set the Size Jitter to 25%, Control to Pen Pressure,
Minimum Diameter to 55% and the Angle Control to
Direction. Under Scattering, check the box for Both Axes
and set the Scatter Amount to 830%. Set the Count to 2
and Count Jitter to 85%. Finally, under Other Dynamics set
the Opacity and Flow controls to Pen Pressure.
Use this custom brush to gently paint in the same
direction as the hair growth, being sure to alter the tip size
as you go across the facial curves.
Remember to specify whether you’re using a PC or Mac and the version of Photoshop you have.
064-067_AVP_61_Helpdesk.indd 65
AFTER
Tool tip
Using a Gradient Fill layer is particularly helpful
because it keeps the gradient in an easily editable
state. By double-clicking the thumbnail, you get
the Gradient Fill dialog box that allows you to
change the gradient’s settings. There’s the
Gradient, Style, Angle and Scale. Clicking the
Gradient bar opens the Gradient Editor, which
gives you the opportunity to select a preset
gradient or create your own custom gradient. But
the real benefit is the fact that this gradient is
nondestructive. That means it can be re-edited at
any later point without any problems at all. No
more failed attempts at trying to mimic the
previous stroke of the Gradient tool to change the
colour; here, just switch out the colour chip and
don’t worry about losing the gradient’s position.
GRADIENT FILL: Nondestructive gradients, happy days!
Plastic skin
Q Dear Helpdesk,
Thanks for all the great creative tutorials
and features. The amount of work that
goes into each issue must be massive, and it shows!
I’m hoping you can point me in the right direction on
something. I’ve been trying to create the effect of a
person whose skin is shiny white plastic, but can’t
quite get it to look right. Any ideas?
Aimee Reynolds
A
Greetings Aimee, we always love to hear
the appreciation from our readers, as it
makes our efforts worthwhile. As for the
white plastic skin effect, it’s essential that you start
with an appropriate image. You want one with a
neutral pose and expression that is believable in a
plastic form. Huge smiles don’t translate well.
1 Skin softener
Begin by selecting the skin of the model and
copying it to a new layer. Then soften the details
with Filter>Blur>Surface Blur. We used a Radius of 8
and Threshold of 11. Then go to Image>
Adjustment>Black and White and select the High
Contrast Red Filter preset.
2 Plastic Wrap
Use the Plastic Wrap filter (found under Filters>
Artistic) with Highlight set to 10, Detail set to 4 and
Smoothness to 11. Add a Curves adjustment layer
with a slight S-curve to enhance the contrast and a
Levels adjustment layer to adjust the blue channel to
give a slight blue tint to the plastic.
3
Finishing touches
Copy the skin layer to the top of the stack and
set to Overlay. Copy the original image layer to the
top and conceal it with a layer mask filled with black.
Reveal locks of hair over the face and the eyes with a
white brush, then add slight visibility to the lips.
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20/8/09 18:46:04
 Q&A
Technique tip
Pixel art is the process of drawing an image a
single pixel at a time. This theme has become chic
retro because of the nostalgic connection to early
computer graphics. But if you’ve tried to paint
single pixels with the Brush tool, even with
Diameter set to 1 and Hardness set to 100%, the
painted lines are thicker than expected and have
soft edges.
The solution is to use the Pencil tool, and not
the Brush tool. This is hiding behind the Brush
tool in the fly-out menu. The pencil will keep
clean, crisp edges to your lines. The Diameter
setting determines how many pixels thick the
lines will be.
ONE PIXEL AT A TIME: The Pencil is mightier than
the Brush tool
Coffee cream-art
Q Hey Photoshop guys, here’s my question.
I’ve seen those adverts for flavoured non-
dairy creamers where it looks like they
actually made drawings in the coffee by stirring in the
creamer. How did they do that? I’m guessing it’s not
real but some form of Photoshop wizardry. Care to
share your thoughts on the matter?
Miguel Rodriguez
A
Hello Miguel! Well, I can’t speak for the
makers of the ad or how they accomplished
it, but just one attempt at creating even the
most basic shapes by stirring creamer in a coffee cup
will convince you that Photoshop is the only way to
go on this one! The effect varies in its execution, but
there’s always one very key ingredient that will make it
work: Liquify!
Send your emails to us at advancedpshop@imagine-publishing.co.uk or post a message on our forum board at www.advancedphotoshop.co.uk/forum.
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064-067_AVP_61_Helpdesk.indd 66
How big is a one-pixel stroke?
Q
Hi Helpdesk,
You’ll really be my hero if you can help me
with this one. I’m in the midst of designing a
web layout and I need to create boxes with a single-pixel
border. When I do this in Photoshop, my one-pixel stroke
is frequently blurred over two- or even three-pixel rows.
So instead of a clean, sharp border, all I get is a smudgy
mess. Please help.
Marcy McDaniels
A
I know exactly what you’re talking about,
Marcy. Draw out a quick rectangular shape, add
a Stroke layer style of one pixel then watch in
bewilderment when that clean sharp line turns into a
thick smear of colour. Ironically, Photoshop thinks it is
being more precise when it does this. It is actually laying
down the vector line between pixels instead of rounding
to the closest one. Sounds great, except when you need
to put a stroke right down one of those vector lines. Then
Photoshop has to try to represent the line by averaging it
between the two rows of pixels instead of one.
The easiest solution is to open the options menu for
the Rectangular Shape tool and enable the Snap to Pixels
checkbox. Then just make sure your layer stroke is set to
Inside and you’ll end up with your clean, crisp, straight-
line borders and nice sharp corners, too.
“When it comes to
restoring colours to an
old photo, Photoshop
needs to have some
colour information
present in the image
to work with”
1 Cream and two lumps?
Begin by setting your colours to black and a light
brown. Then create a round, feathered selection that fits
inside the cup. On a new layer, fill this selection with the
Clouds filter (Filter>Render>Clouds), set the blending
mode to Linear Dodge and reduce the Opacity to
around 30%.
COMING INTO FOCUS: The Snap to Pixels option makes
the difference between a sharp border and a blurry one
Add colour to old photos
Q
I don’t know if you have ever had this request
in the past or even have done a tutorial on it,
but I have a small collection of old family
photographs on my computer. These photographs range
from 50 years of age (my mother’s toddler pictures) to
just over a century old (my great grandparents’ wedding
photograph). One thing I have always wanted to do is see
how these would look if they were coloured. I have
searched far and wide and have not been able to find a
tutorial to fit my needs.
Ann Foerster
A
Hi Ann. These old pictures of yours really are
amazing, what a family treasure! Thank you for
sharing them with us.
When it comes to restoring colours to an old
photograph, Photoshop needs to have some colour
information present in the image to work with. In this
case, the original photo was true black and white and
then it faded to the sepia tone. The only method I’m
aware of for colourising the image is to artificially add the
colour in by hand. I decided to give it a go and I think the
result is pretty good. The key is to use several Hue/
2 Stir things up
Go to Filter>Liquify and begin mixing up the cloud
texture. Use the Twirl tool with a massive brush size to
create a gentle spin to the overall shape of the cream.
Then use the Forward Warp and Bloat tools to create
distortions in the swirls. Be creative and have fun with
this one!
20/8/09 18:46:34

ip
BEFORE
Quiucr Lkiquifty work
Save yo Save Mesh
e
with th u can
and yo
button in later for
aga
load it its
easy ed
GOING GREEN: Careful application of
adjustment layers can give brilliant lively
colours to an old photo
Saturation adjustment layers set to Colorize. After I figured
out the Hue/Saturation settings for a particular tone, I
filled the layer mask with black and used a soft white
brush at a low opacity on the mask to paint the colour
back into the image. I also found that changing the
blending modes on the adjustment layers provided some
great results, especially the Overlay and Soft Light modes.
This process is a very fluid one and requires a keen eye for
colour and a steady hand with the Brush tool, but the
results are worth it in the end.
Space stock
Q Can you point me to a resource for real
textures/images of planets, stars and other
space-themed shots? All the ones I find are
either computer-generated and have that artificial look
3
I’ll take another, please
Use a layer mask to conceal the cream areas as
you see fit. Then repeat the process a few times for a
deeper, more textured effect. The same technique is
used to create a letter or shape, but instead of the
elliptical selection in the first step, use a selection in
the shape you desire.
Remember to specify whether you’re using a PC or Mac and the version of Photoshop you have.
064-067_AVP_61_Helpdesk.indd 67
AFTER
to them, or are real but too small and blurry to be useful.
Madison Wadsworth
A
Ah, space images… the perfect foil for the
designer who swears you should always shoot
your own stock! Go ahead and try, I say!
It turns out that the best place for space-themed
imagery is from the folks who make space their business:
NASA. I have to give credit where it’s due, as for a bunch of
scientists, these guys sure take some amazing
photographs! Check out the massive space gallery at
www.nasaimages.org. Or for some stunningly high-
resolution texture maps of our own planet, try http://
visibleearth.nasa.gov/.
Do you want to know the best part about those image
archives? For the most part, they are all public domain.
That means free! So yes, high-quality, actual imagery
taken from space, for you to use at no charge. Don’t say
we never did anything for you!
STUNNING SPACE STOCK: You can either fly out to
space yourself, or use NASA’s images for free!
CS4
spotlight
Medical analysis and more
You may have seen some of the press for
Photoshop CS4 that included a pitch that
seemed a bit out of place with the rest of the
marketing material. Adobe’s promise that
Photoshop CS4 Extended would be an asset to
medical professionals raised more than one
eyebrow. What on earth could a medical
professional need image-editing software for?
Don’t they already have specialised medical
software for what they do? Would we feel at all
comfortable watching our physician launch
Photoshop during an exam as an analysis tool?
It turns out that Adobe is on the money with
this one. And it mostly has to do with support of
the DICOM (Digital Imaging and
Communications in Medicine) image format. Not
only can Photoshop read DICOM files, but it can
turn multiframe files into a 3D volume that can
be viewed from any angle, providing a more
complete analysis.
I can hear it now: “I’m an artist, Kirk, not a
doctor! What am I going to do with medical
analysis tools?” Well, if you are ever attempting
to add a realistic X-ray image to your designs,
this is one feature you’ll be glad to get your
hands on!
X-RAY VISION: Open DICOM files directly in
Photoshop
COMPLETE ANALYSIS:
Multiframe files can be imported
as a 3D volume
MEDICAL HELP: CS4 Extended even offers specialised
rendering options for DICOM volumes
67
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20/8/09 18:47:15
 I N D U S T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S

INDUSTRY
DALDUFF FARM (LEFT
AND BOTTOM RIGHT):
“Sketches for Dalduff
Farm promotional
products. These will be
used across the
website, van livery and
sales material”

An interview with…
DOJO DESIGN
STUDIO
Chris Torres and Tom Hart, owners of Dojo
Design Studio, speak to Advanced Photoshop

D
ojo Design Studio is run by two
creative, multidisciplined designers
who produce beautiful and
functional media by combining talent with a
Tom Hart: Every project carries its own
challenge and, once implemented, provides a
great sense of satisfaction. My favourite
commission would have to be a children’s book

About the state-of-the-art design suite. These skills allow

studio
Type of work Print design
and branding, web design and
multimedia, illustration, 3D
visualisation and animation,
audio and video production
Clients Proven Energy,
Cushman & Wakefield,
Enhance Accessories, Macs
Adventure, New Town Killers,
Hippopotamud
Website www.
dojodesignstudio.com
Biography Based in Glasgow,
Scotland, Dojo Design Studio
was set up by Torres and Hart
in February 2008 after working
together at another design
company. It now deals with a
wide range of skills and an
extensive list of services for a
varied list of clients
Inside guide to everything
that you need to know to
make it as a professional
digital artist, including
university and college
courses, industry advice
and interviews with pros
» Pg 72 .Hold your own exhibition
» Pg 78 .......................................................Uni focus
» Pg 82...........................................Career focus
them to provide highly innovative concepts
called Hippopotamud, which is both educational
and entertaining! I produced the illustrations by
for promoting and generating business. hand, colouring using watercolours on this
From stunning print, branding and identity, occasion. I then produced high-resolution scans
accessible websites and SEO, illustration, 3D of each illustration, which were colour corrected
animation and visualisation, to interactive and edited in Photoshop.
multimedia, video services, web hosting and
marketing, businesses large and small can Advanced Photoshop: What would be your
benefit from their high standard of service. dream commission for Dojo?
Chris Torres: More projects for the TV and film
Advanced Photoshop: Welcome to AP! Let’s industry. Working on the sequence for New Town
start by hearing a bit more about the studio and Killers and a 3D scene for Taggart whet our
the kind of work that you do. appetites! We enjoyed the whole experience.
Chris Torres: We selected the name Dojo as it
means ‘the place of the way’ or ‘art’ with our Advanced Photoshop: What are you working
strapline being ‘The Way of Design’. Looking at on at the moment?
which services we could both bring to Dojo, we
realised the list was extensive. I have over 17
years in print design, web design and video
production, while Tom’s 13 years cover graphic
and web design, 3D, multimedia and illustration.
Because of our careful planning, we were
inundated with projects from the word go.
Some of these projects were from clients we
already had a relationship with, but mostly they
came from clients who found our site and were
impressed with the design and our showreel.
PROJECT MAYHEM: “The album art for UK hip-
hop group Project Mayhem. The cover was
Advanced Photoshop: What has been your created in Photoshop using a series of images
favourite commission to date? retouched together”

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 INTERVIEW

“We honestly would be lost

without Photoshop, as we use it
on every project we do”

ENHANCE ACCESSORIES (ABOVE AND INSET):
“Enhance Accessories catalogue. Photoshop was used
to edit, colour correct and cut out all the images”
Tom Hart: We are currently working on a tour operator’s
website aimed at adventure holidays. Chris has built the
website templates using Photoshop. He will then code
W3C-compliant XHTML and CSS, which will be integrated
with its online booking system.
I am currently illustrating and designing the website for
Dalduff Farm, a fine food producer. The illustrations are
being used across its website, van livery and promotional
products. These are sketched by hand and brought into
Photoshop to be cleaned up, edited and coloured. I will
also produce visuals of the web design in Photoshop,
which can be reproduced as HTML.
Advanced Photoshop: What techniques do you use to
create your images? How does Photoshop come into the
equation for your projects?
Chris Torres: We honestly would be lost without
Photoshop. If Tom is producing one of his illustrations, he
would either do it by hand or from scratch in Photoshop.
We usually give the client a black-and-white version to
approve first, with colour added to the client’s
specification. Photoshop’s layers and tools make it so easy
to change colours or composition on the fly, especially
when the client is sitting next to you.
Photoshop is also essential when creating album art, as
I would produce a rough montage first. Sitting with the
client, I have the freedom to move or change elements
until they are happy. I would then go on to create the
first draft for approval and then the final artwork.
Advanced Photoshop: Where would we have
seen your work?
Tom Hart: If you have seen New Town
Killers, you would see our work on the
sequence that appears on Dougray
Scott’s computer screen. A technician
was off-screen triggering the animation,
while the actor pretended to move the
mouse. This helped with continuity
during takes by relieving the actor
from doing two things at once.
Advanced Photoshop: What would be your
advice for artists hoping to follow in your footsteps?
Chris Torres: If you want to start on your own, take a
deep breath and do it! You will never look back. No matter
if there is a recession or not, if you’re smart and creative
enough, there is always work available. Businesses and
organisations will always need to promote their products
and services.
When we produce work, we listen carefully to the
client’s requirements. It is easy to come away from a
meeting thinking one thing when your client is thinking
another. Never tell them their idea is rubbish! Be
diplomatic. Advise them towards the direction you know
will work best. This will give you the creative
freedom you enjoy, while exceeding the
client’s expectations. Follow the brief and
blow them away with your professionalism
and creativity!

HIPPOPOTAMUD (LEFT):
“Hand-sketched and
watercoloured illustrations.
Photoshop came in handy
to edit the
illustrations”

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 INDUSTRY Holding your own exhibition
I N D US T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S

Your in-depth guide to…

HOLDING YOUR OWN
72
EXHIBITION
Recognition and adulation of your art, whether for creative or commercial reasons, is something that every
artist secretly aspires to. Natalie Johnson explores whether holding an exhibition is one way to achieve it

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 F E AT U R E

TIP BE PREPARED

1
AND BE REALISTIC
“Do research on what’s
been done before and
write up your goals,”
Radim Malinic (www.
brandnu.co.uk) explains.
“It’s easier to move into a
gallery with a few prints
for a short while, but
going solo with an
ambitious idea is always
a learning curve”

TIP SOCIAL

2 NETWORK SITES
MySpace, Facebook,
deviantART, the
Advanced Photoshop
forum – these are all

W
networks you can use to
anting recognition, fame or wealth from your talent
source advice, ask for
isn’t something to feel guilty about, as it is simply favours and promote
called ambition, and having it is the first step to your exhibition
achieving all these worldly desires. Once you’ve pocketed that
motivation, it’s time to think about how you can make a name for “A physical
yourself, and to do that you need exposure. exhibition
While we agree that the internet is a digital artist’s best friend
and has undoubtedly opened up many doors for us, nothing quite gives you the
sells a piece of art, however it has been created, than seeing it in opportunity to
the flesh. So what better way to have people admire your work
than to hold a physical exhibition. Holding an event offers artists
look at people’s
opportunities for notoriety, a forum for instant feedback and even expressions,
the chance to sell a few pieces along the way. The current
economic climate hasn’t made it easy for aspiring exhibitors,
which tells me
though, as galleries are less inclined to take risks on unknown more than a
artists, especially from the digital realm, so the key is to rake in
some much-needed experience and boost your confidence. Within
hundred
this Industry guide, we’ll offer you a check list of how to prepare for words can”
your big event. − Roberto Marras

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 INDUSTRY Holding your own exhibition
I N D US T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S

COUNTING
THE COST Choose what to display
There are certain So you’ve made a mental note to hold an exhibition, but what
costs artists will comes next? Next is between two and six months of research and exhibition gives you the opportunity to meet people and discuss
have to cover to hard graft – the more time you can afford on the project, the quicker your work face to face, and I get to look at people’s expressions,
hold an exhibition you’ll be able to get your plans moving. Most creatives who have which tells me more than a hundred words can.” If your motive is to
GALLERY SPACE held their own exhibition will tell you they followed a series of steps boost your profile then you can be more debonair with your
ESTIMATED COST: that took them from formulating the idea in their bedroom to choices, plumping for pieces that reflect how you are different as
£10-5,000 sipping champagne at the launch night, and that’s what we’ll an artist, flanked by revolutionary works that shatter the mould.
Some galleries will want attempt to explain here. Going it alone sounds ideal if you are particularly precious about
a percentage of take, The first aspect you’ll have to crack before you can take a step your art, but forming a collaboration with other artists is an
while others will rent a
closer to realising your dreams of fame and fortune is to conceive a obvious solution for reducing mounting overhead costs or if you
space for a fee. The Eye
theme of work or project that you want to exhibit. In the loosest feel out of your depth organising a debut event. Avoid peers
to Eye Gallery (www.
theartworksgalleries. sense, you may want to choose your dozen top pieces; alternatively, whose work could be deemed in direct competition with your
com) hires exhibition you may want to use the event as a platform for revealing a message own, but aim to unite the collaboration with a common link.
space on a monthly to your audience or represent a themed concept. Once you’ve
basis, starting at £90 for pinned this down, try writing a synopsis to explain it to the others. Research your gallery space
a 8 x 4ft area. Research to see if anything like it has been attempted. Is there a There are a small number of gallery owners out there who, if they
certain type of venue that would lend itself to your theme? like what they see, will allow you to hold an exhibition for free with
FRAMES
The next question is to ask whether your pieces are any good?
ESTIMATED COST:
£50-500 Enter competitions, join online forums and ask for feedback or hold © ROBERTO MARRAS © ROBERTO MARRAS
“Framing costs vary a focus group – if the answer is no, you need to consider if this long
depending on the type, and expensive process is worth it. If the answer is yes, do you think
size and quality of your you have enough pieces? Most exhibiting artists have a mixture of
frame,” Roberto Marras
says. “It may cost you
£50 or much more.”

FOOD AND DRINKS

ESTIMATED COST:
£20-2,000 “Collective art shows are cheaper,
Hit a cash-and-carry to
buy in bulk or look
but be sure the other artists follow
online for catering the same ideals and try to express
services. Contact a local
catering college, as
a similar concept to yours”
these are usually cheap. – Roberto Marras

MARKETING
ESTIMATED COST:
£0-1,000
You can do it for free by
advertising through
social network sites and
emailing the press, or
paying for promotional
material, such as posters.
large, medium and small pieces numbering between 12 and 30.
Don’t include a piece if you are not sure about it, and this is where
having a theme can really help you to focus. Narrow down your
motive and your selection process – are you doing this to raise
money or boost your profile? If the answer is money, pick your most
popular articles, a strong composition carried off with technical
STOP! OK LOVE NOW (TOP), ITALIANS (ABOVE RIGHT),
excellence, which some may call the safer option. “Collectors often ROBERTO’S EXHIBITION (ABOVE LEFT): “I print on Hahnemühle
prefer to look at the real thing rather than a digital representation,” archival paper, which costs me about £100 each print,” says Roberto Marras. “I
offers seasoned digital art exhibitor Roberto Marras. “A physical could spend less if I used cheaper paper, but I prefer to focus on quality”

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 F E AT U R E

CASE STUDY TIP SUSS OUT

3
Roberto Marras (www.
THAT SPACE
Look at the space
robertomarras.com) has you are hoping to
established himself as a digital artist exhibit in
who has excelled at exhibiting thoroughly so you
can contemplate
the sizing of your
images, as well as
which design
would work best
in the space that is
provided

no hidden costs. Although these are few and far between and until
you’ve made a name for yourself it’s less likely, there are a greater
number who will be inclined to do this if you agree to give them a © ROBERTO MARRAS © ROBERTO MARRAS
percentage of any prints sold at the venue. This value can fetch Q. HOW DID YOU GO ABOUT RESEARCHING VENUES
anywhere between ten and sixty per cent, but don’t be afraid to AND EVERYTHING ELSE THAT GOES ALONG
politely negotiate. “The gallery I most recently exhibited at took 30 WITH ORGANISING AN EXHIBITION?
per cent of whatever I sold, which I thought was excellent when you A. There are many things to consider before you can choose a TIP BEFRIEND

consider some take 50-60!” reveals Phil McDarby (www.philmcdarby.
com), who recently exhibited at the ABC Treehouse Gallery in
Amsterdam. “I sold a couple of prints and just about covered my
costs. I wasn’t motivated by the money to be honest, it was just a
thrill to be up on the wall, sharing a space with lots of really talented
and interesting digital artists.”
The traditional art gallery is not only the venue open to artists
when it comes to exhibiting our wares. Creatives of the art
community have been known to house exhibitions in restaurants,
hotels, libraries, tourist information centres, corporate lobbies,
trendy hairdressers and so on. Venues of this domain may have a
waiting list but are more likely to be free. In fact, they may offer the
space in exchange for the long-term loan of the prints – not only
should you see this as a compliment but it also offers you the
possibility to leave your contact details within the frame for potential
sales. What is more, with the recession closing thousands of high-
street stores, creatives have been snapping up short-term lets of the
properties to house their shows. If you can, the main factor to look
for when choosing a venue is that it reflects your theme, style or
target demographic as closely as possible.
When you’ve narrowed your hunt down to a handful of
possibilities, there are a few things to think about. Consider the
lighting in the venue – how does it fall during different times of the
4 OTHER
location. First of all, digital art is still not well introduced to
the world of fine art, so I still do not see digital fine art
happening at traditional galleries. However, there are spaces ARTISTS
you can hire to have your work exhibited, and this is Joining up with
important as well, because to hire a venue has its costs, and other artists for a
you, the artist, already have many costs with your prints, group show is a
framing, food, drink and transporting your work. Before great way of
organising an exhibition, it is best to properly think of the saving costs. Be
budget you have. sure to match up
with peers whose
Q. HOW SUCCESSFUL WAS THE EXHIBITION? WHAT style is varied from
FEEDBACK DID YOU GET? yours but who,
A. The success of an exhibition depends on many things. You when coming
could have success in selling, with people’s feedback or both.
together, offer a
Generally, the best feedback I had was “I don’t know about sense of unison
art, but I love this.”
Q. WERE THERE ANY CONS WITH HOLDING YOUR OWN
EXHIBITION?
A. When you start with your exhibitions, you need to invest
money and you need to print your work on the very best
paper at the very best quality. You might sell, but if you have
more than one show next to the other, will you bring the
same artwork? If not, it means you will have to print new work
and frame it. Think of selling art as setting up your own
studio, since at the start it’s all about spending and investing.
TIP SELLING

5
day? Does this subtract from your art or, if you are hosting
Q. HOW DID YOU RECOUP YOUR COSTS?
nocturnally, what effect do the artificial lights have on your pieces? Do some research
A. The entry was free, as I don’t like to have people paying to
Does the location offer hanging facilities? This is another into what you
see art, but I did sell and this has paid back the cost of the
opportunity for you to be creative – can you curtail the hanging should be charging
show before. But be prepared not to sell. It is an investment,
arrangement with your theme? Can you include decorations, flowers, for your art. Price it
which may lead to a profit if not instantly.
play music, cook and provide food and drinks? These are all
too highly and you
Q. WOULD YOU RECOMMEND GOING IT ALONE OR IN could risk
important questions to ask.
COLLABORATION WITH OTHERS TO SPLIT COSTS? alienating a large
Once you’ve agreed on a venue, work out how you plan to percentage of your
A. Collective art shows are cheaper, but be sure the other
transport your frames to and from exhibitions, and whether taking consumer base;
artists are bringing the same theme, follow the same ideals
out insurance would be a worthwhile measure. Next, assess how price it too low and
and try to express a similar concept as yours. Sometimes I see
your work should be ordered throughout the space, deciding upon a shows with work that have nothing to do with each other. its worth may be
beginning, middle and an end to the sequence. Think about the deemed negotiable

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 INDUSTRY Holding your own exhibition
I N D US T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S

CASE STUDY natural flow of the order – is this another opportunity to

Radim Malinic’s (www.brandnu.co.uk) debut
digital art exhibition, fusing sound and visuals,
attracted over 4,000 visitors in its six-week run
© RADIM MALINIC
reflect your theme? Size is an important factor. Do you want all
your pieces hosting uniform measurements or would an
assortment of dimensions create interest? Dimensions of 6 x 4ft
and upwards appear to be the norm, but your ultimate decision
will depend on wall space and venue size.
Framing will become the next factor once you’ve printed your
art. What style, material and colour should never distract from the
print within but endorse it, which is why simplicity often wins out

THINK
OUTSIDE
THE BOX
If you can think it,
you can achieve it –
try thinking outside
of the box when it
comes to exhibiting
your work
There are many artists striving
for recognition and often it’s
the ones with the craziest
ideas and mind-bending
creations who get noticed.
Exhibiting your work doesn’t
just have to be a case of
printing your digital file,
framing it, hanging it and
have Joe Public ‘um’ and ‘ah’ at
it. If you want people to feel it,
make it tangible. If you want
them to smell it, give your art
a smell. If you want people to
hear it, give it a sound – a
concept taken up by Radim
Malinic (www.brandnu.co.uk)
who came up with ‘Nu Visual
Language’, an exhibition with
music and lyrics. “I chose 12
designers from around the
globe to collaborate on each
piece with me,” the artist
confirms. “The final show had
a dozen pieces along with a
pair of headphones so that a
visitor could get the first-hand
experience of what music
inspired me and others to
create that piece of work.”
Also, try moving art –
exhibit on a bus or the inside
of a lorry, odd locations such
as phone boxes or in a park or
even ask 20 of your best and
brave friends to parade the
streets in bill boards adorning
your designs.
over fashion. Labelling each piece is a good idea, as it offers your
audience a title, explanation, size and price. If you are intending to
sell your frames, make sure you stock a stash of red stickers for
labelling up sold items, while a neat trick is to include some
presold items to inspire confidence and get the ball rolling. Some
artists find offering a free certificate of authenticity instantly adds
value to the sale and increases the chance of one. Consider how
you will take payment for sold items (eg, keeping a float or using a
service such as PayPal) and whether customers can take away your
designs after purchase or whether you’ll need to arrange a delivery
method and need to factor in postage and packaging.
Promote yourself
Once you know when, where, why, how and who with, then it’s
time to start marketing. The first port of call should be to advertise
through your own portfolio website or design one especially for
the cause, as was the case for notorious Photoshop pro Malinic. “At
Q. WHAT BENEFITS ARE TO BE GAINED FROM
EXHIBITING?
A. I had a few commissions on the back of my show and got a
“I wasn’t motivated by the money to
fair chunk of kudos from my design peers and contemporaries. be honest, it was just a thrill to be
Q. HOW DID GO ABOUT ORGANISING IT? up on the wall, sharing a space with
A. I did most of it myself in collaboration with the Bargate
Gallery and its exhibitions officer Kate Grenyer. I contacted my
lots of really talented digital artists”
chosen collaborators, approached the musicians and record – Phil McDarby
labels to get the ball rolling. The whole concept was pretty
ambitious. I had to get copyright permission, organise the file © PHIL MCDARBY
transfer between the collaborators and me, find the right print
supplier and finisher.
Q. WHAT WERE YOUR MAJOR CONCERNS IN THE RUN UP
TO LAUNCH NIGHT?
A. All was done a week in advance to ensure any last-minute
problems could be sorted well in time. Corona agreed to
sponsor the drinks and not much more else was needed to
cater for the number of private-view visitors.
Q. WHERE WAS IT HELD AND WHY DID YOU CHOOSE
THE LOCATION?
A. I chose the Bargate Gallery in Southampton, as I wanted to
challenge people and their stereotypes who believe only
© PHIL MCDARBY
exciting projects happen in London or nearby. The gallery
itself is located in a beautiful medieval building. It was a great
amalgamation between the old and the very new. I didn’t have
to pay anything towards the gallery and they provided
volunteers to man the exhibition at all times.

Q. HOW DID YOU RECOUP YOUR COSTS?

A. I sold visual mixtapes at the gallery as well as on my website,
but not purely to recoup the costs. The mixtape was a
collection of works in a CD-sized jewel case to mark the
occasion. I think that art should be created from the heart and
not the wallet. Some of the pieces sold on a one-off basis, too.
THE WOOD DRAGON AND THE LADYBIRD (TOP), MAGIC
(ABOVE RIGHT), PHIL’S EXHIBITION (ABOVE LEFT): “I
encourage anyone to be proactive about getting their work up somewhere
– it’s a great way of getting good exposure and meeting other artists”

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 F E AT U R E

TIP ASK FOR

6
OPINIONS
Use your portfolio
website to get
feedback on your
work. This may help
to inspire you to
create work in a
certain genre or
help to focus your
mind on what you
do well
©R
AD
IM M
ALI
NIC
RADIM MALINIC’S EXHIBITION: “If
you feel you’ve got something special, go
alone. If you’re part of a network and share
the same values, try to all chip in and get a
name for the collective”
“I had a few commissions on the
back of my show and got a fair
chunk of kudos from my design
peers and contemporaries” ONLINE
– Radim Malinic EXHIBITIONS
While appreciating
the planning stages, I designed an exhibition website (www.
nuvisuallanguage.co.uk) that would serve as a diary to record the the power of
process from the start to end, as well as an online presence after physical art, creative
the show was finished.” Exploit social network platforms such as minds also realise
MySpace, Facebook, deviantART, Flickr, etc. Get the word out to as the necessity for
many people as you can. promoting online
Email members of the press and try and present an angle that Perhaps you are the shy type
may interest them, explaining succinctly what makes this event or perhaps the idea of
unique. Glossy magazines run on longer lead times, so will exhibiting in the real world
need to be contacted up to three months before just isn’t a realistic possibility
for you – whatever the reason,
the start date of your exhibition. Don’t forget the internet offers a safe and
local newspapers and trade magazines, while wide-reaching platform for
you could offer to be a guest on your local promotion, not to mention
radio station in return for exposure. Print up cheaper, too. A simple Google
search using the words ‘digital
posters and hand out flyers, or leave small
artist online exhibition’ will
piles in shops, hairdressers, tourist source thousands of hits,
information centres, libraries and cafes, etc, varying in the degree of
but aim for outlets that reflect your difficulty it will be to be
demographic. If it is your intention to offer featured. Sites such as
Wobblybridge (www.
refreshments on the launch night, advertise wobblybridge.co.uk) provide
the fact that there will be free drinks and online gallery space for artists
canapés – everyone loves a freebie! Go one free of charge, but don’t
further and run a free prize draw on the expect to be able to sell your
art from this site. Their
launch night. Simply give every member of
intention is only to introduce
the audience a raffle ticket and one person you to great artists from
gets to win one your preselected prints. around the world. Creatives
Costs are sure to rattle up, so attempt to can join for free and upload
beg and borrow whatever you can to make up to 60 images.
Alternatively, some
this work. Malinic certainly found ways to websites offer the potential
make his money stretch at his most recent for monetary gain, such as
exhibition, as he explains: “I ensured no part murmurArt (www.
of the exhibition was too expensive. When all murmurart.com), which
advertises itself as a gallery
was added up, it was came close to £2,000.
without walls. “Our model
The main purchases included iPods, means we can offer simple
headphones, printing costs, mounting, promo access to a wider audience of
flyers, posters, website development and visual buyers and collectors.” The
mixtapes. My friends from Orange Rooms provided bar staff, site’s welcome page explains:
“From the website, users can
Corona donated beer and the gallery also helped me out view and buy from a
with their mailing list as well as organising the guest list.” constantly renewed selection
The opening night will make or break your collection, so of artwork from up-and-
be prepared as much as is humanly possible for every coming artistic talent that is
rigorously selected by our
eventuality. It could be wise to ask the gallery owner
curatorial panel.”
or other nominated MC to introduce you and for
you then to make a short (and revised) speech
introducing yourself, your exhibition and telling
people where they can find out more. Record the
event, perhaps ask a friend to photograph with
the intention of posting the stills on your site, or
video the gathering and broadcast it on domains
such as YouTube to increase exposure. Be polite and Wobblybridge (www.
professional at all times, and only succumb to that wobblybridge.co.uk) provides
online gallery space for artists from
crisp champagne once all the hard work has paid off. across the globe free of charge

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 INDUSTRY Uni focus
I N D US T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S

The best digital art courses and student artwork from around the world

Sheridan College Institute of Technology

and Advanced Learning, Canada
Bachelor of Applied
Arts – Illustration
T
his illustration programme, the foremost in Canada,
concerns itself with communicating visual ideas to a
global audience. The degree offers an enhanced
curriculum related to business and entrepreneurship, research,

Course drawing and conceptualisation techniques and advanced

digital media.
details The first year covers common illustrative practices and techniques,
Sheridan College Institute
of Technology and with the second year inviting students to specialise in either
Advanced Learning Interpretive or Technical and Scientific Illustration. The course offers
Tel: (+1) 519-763-4725, 1-888-892- students the ability to hone their drawing skills using traditional and
2228 (Toll free, Canada only)
digital media, and also the means to create professional portfolios PLEASE ME ONE MORE
Web: www.sheridaninstitute.ca
TIME (BELOW): “The
Course Bachelor of Applied through a wide range of applications and clients. idea was about sex
Arts Illustration The structure of the course is intensive, with the four-year addiction. I used pencils
Duration Four years and inks to work on linear
Entry requirements programme split into eight academic semesters, including a 14-week
parts and scanned them
English, Grade 12 (ENG4U) plus one work term at the end of the third year. This presents students with in, then – combining all
senior-level Visual Arts credit at the experience of commercial rules and rituals. This is an extremely the scanned images –
(M) or Open level coloured in Photoshop”
significant part of the degree, which will put you in good stead when
© YUTA ONODA
competing with other design graduates, as you’ll obtain an
understanding of the environment related to your field of study.
There is also a work term fee of $510, which is approximately £310.
Graduate student Yuta Onoda certainly endorses this hands-on
attitude of the Bachelor of Applied Arts – Illustration course, as he
explains: “I would definitely recommend this programme if you are
interested in illustration. I think it really helps to grow when you have
Artist info

great teachers and enthusiastic students. It’s a very competitive but

friendly environment. We’ve pushed each other and had some great
times. This school also provides you with amazing facilities, so you
can spend hours working on the assignment at school.”
Onoda’s recommendation speaks for itself, but Sheridan also
provides college-wide statistics, revealing that the successful
Yuta Onoda employment rate from its design courses is as high as 90.3 per cent.
Personal portfolio site:
www.yutaonoda.com
Year on course: Recent
graduate

International student Yuta

Onoda has enjoyed his
creative experiences at
Sheridan College studying
Illustration, as he explains: “I
love mixed media so learning
both traditional and digital
methods on the Bachelor of
Applied Arts – Illustration
programme has been
influential.” So much so, he
has recently won a New
Venture Studios Emerging
Artists Grant.

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 UNI FOCUS
CONFUSION: “The image is about how things
inside of the mind get flooded when people get
confused. I used pencils to work on linear works
then scanned it in, applying colours with
selected Photoshop brushes”
© YUTA ONODA

ALL IS MINE: “I worked on linear work

and coloured in digitally. The idea was
themed on children’s insatiable desire
towards owning toys”
© YUTA ONODA

“I have learned to
conceptualise illustration
works. Communication
takes a large part when it
comes to illustration”
Yuta Onoda

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 INDUSTRY Uni focus
I N D US T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S
The best digital art courses and student artwork from around the world
Course guide
Illustration
We take a look at some of the most appealing Illustration
courses that provide industry-based opportunities
BA (Hons)
Fashion
Illustration
LONDON COLLEGE OF FASHION
Tel +44 (0)20 7514 7344
Web www.fashion.arts.ac.uk
About the course
The Fashion Illustration course at the
London College of Fashion urges
students to develop their creative
skills as well as their imagination.
Cultural and Historical Studies are
produced to contextualise illustration
within current practices and products.
The course also provides the
means to develop your personal
concepts and style as an individual.
This allows you to focus your work
towards your chosen career path as a
professional across a wide range of
fashion, design, styling, advertising,
new media, art and creative industries.
With studies firmly focused on the
realities of the fashion business,
students are presented with the
opportunity to experience
professional practice and current
trends through an industry placement
with a chosen illustrator, designer,
publication or brand.
Duration Three years, full time
Entry requirements
Foundation in Art and Design or two
Advanced Level passes at grade
C or above
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078-080_AVP_61_IndustryUni.indd 80
BA (Hons) BA (Hons)
Graphic Design Graphic Design
& Illustration and Graphic
CAMBRIDGE SCHOOL OF VISUAL
& PERFORMING ARTS
Illustration
Tel +44 (0)1223 345698
Web www.ceg-uk.com/en/csvpa
About the course
This three-year BA Graphics and
Illustration degree teaches students to
develop dynamic concepts as well as
obtain the skills to utilise them in a
professional manner. Rekindling and
encouraging natural curiosity is key to
the syllabus.
The degree provides a strong work-
related experience with students.
Increasingly specialising in one of the
two areas, graphics or illustration, it’s
focused firmly on ensuring that you
emerge as an immediately employable
artist, able to work to professional
standards from day one. The staff team
is drawn from nationally and
internationally recognised designers
and illustrators who bring their research
and professional interests directly into
your educational environment.
Students also benefit from an
collaboration with external partners,
including a design school in Moscow.
Duration Three years, full time
Entry requirements
Foundation-level study and have an
IELTS score of 5.5 (or equivalent)
UNIVERSITY CAMPUS SUFFOLK
Tel +44 (0)1473 338348
Web www.ucs.ac.uk
About the course
This course concentrates on the
exploration of both digital and
traditional media. Projects are diverse
and engaging, covering a variety of
graphic illustration devices. These
include iconography, sequential
imagery and narrative illustration.
This course also encourages and
supports students to investigate and
get involved in commercial projects,
and liaise with all areas of the graphic
design industry. This undoubtedly
helps support and promote future
career aspirations.
The course provides opportunities
for internships and industry-based
visits. These, along with the creative
learning, set a foundation for graduates
to further their career opportunities,
applying for posts in graphic design
and related areas involving media
and communications.
Duration Three years, full time
Entry requirements
140-200 UCAS Tariff points and English
grade C GCSE or an equivalent
20/8/09 18:53:23
 INDUSTRY Career focus
I N D US T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S

Get the job you want with tailored advice from industry insiders

So you want to be a…
Comic book artist
If your pictures can tell a story, then maybe you’d like to
consider a career as a comic book artist
Introducing
C
omics are big business – you only have to look at

the experts companies such as Marvel, DC and Dark Horse to

Al Davison
Al, aka The Astral Gypsy, has
worked as a comic book artist for
30 years. He also runs his own
book shop and illustration studio
where he offers training in comic
book art. His latest work features
in the new Doctor Who comic
written by Tony Lee.
www.astralgypsy.com
Nathan Lueth
Nathan has worked in comic book
illustration for five years. His work
has appeared in More Comics.
www.nathanluethillustration.com
Jake Parker
By day Jake works at Blue Sky
Studios, responsible for hit movies
like Horton Hears a Who! His comic
book artistry can be found in
Flight Comics and Out Of Picture.
www.agent44.com
Nathan Fox
Nathan has been working in the
comic book industry for five years.
His work includes the Batman:
Black & White comics, plus Pigeons
from Hell.
www.foxnathan.com and http://
foxnathan.blogspot.com/
What’s
important to
see that. The style of them is greatly revered and
respected, and even aped in hit films such as 300, Sin City
and A Scanner Darkly. This also means that, like many
professions in the creative industries, competition out there
is fierce. We spoke with several artists to get their top tips
on getting a career producing comic book art.
What skills do I need?
What essential skills should a comic book artist possess?
Jake Parker: At a very basic level, a comic book artist
must be able to tell a story with images. Whether you
draw stick figures or fully rendered anatomy, if your
VANGEL: This piece of comic art was produced for one
image doesn’t move a story along then you’re just of Nathan Lueth’s personal projects
drawing pretty pictures. © NATHAN LUETH
Al Davison: A comic artist needs to be able to
draw everything and from any angle. A good consistent. Research the publisher to make
understanding of anatomy, body language and facial sure you are showing suitable samples.
expressions is essential. But none of this will help if you Jake Parker: A lot of what your portfolio should have in it
don’t know how to tell a story visually, understand plot, depends on where and what you want to be drawing.
pacing or characterisation. Certain companies look for certain things. If you’re
confident enough in your own story ideas, then begin by
How about a portfolio? drawing a short five- to ten-page story. Show that you can
Do you have any tips when putting together a portfolio? draw the quiet moments as well as the crazy action stuff.
Al Davison: Decide whether you want to do full art or just If you’d rather leave the writing to a pro, some comic
pencils, inks or colouring, then work accordingly. You can publishers have sample stories posted online for
often get sample scripts from publishers to try out with; submission purposes. Also, you might try adapting a story
also, you can usually find sample pencil pages to ink over from literature into comic form. The important thing is to
or inked pages to colour. Follow publisher guidelines as just draw and draw. Draw until that vast expanse of
to what they want to see, and don’t show too many whiteness is no more daunting to you than a mere Post-it.
different styles. Show your best work and that you can be
What about work experience?
I have the skills, but how do I get the experience?

remember Nathan Fox: Find another artist and do an internship or

apprenticeship. With them, you will learn the ins and outs
when putting of the comic world and the realities of art as a business in
together a general. It will also give you an in to the community. If the
portfolio? person you intern for likes what you do, they’ll be more
likely to recommend you to someone else.
Al Davison: Self-publishing is a good way to learn the
whole process. Create your own comic, have deadlines
and stick to them. This way, you get a realistic idea of how
“Don’t show pin-ups quickly you can produce a page and what all the various
or single images unless stages in production involve.
you are looking to
Jake Parker: If you can find a job assisting a professional,
do covers” OSCARS OPENER: Premiere Magazine commissioned Nathan Fox to I’d recommend snapping up that opportunity. They have a
Al Davison produce this Oscars piece. It was created using ink and a brush on Bristol
wealth of knowledge and most are willing to hand that
board then digital colours were added
Comic book artist © NATHAN FOX & PREMIERE MAGAZINE down to the next generation.

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graphic novel Parker is currently working
PUBLISHED BY SCHOLASTIC/GRAP
What’s the money like?
Although it’ll vary from company to company, what sort
of salary should I expect to start with?
Jake Parker: Don’t expect to get paid much in the
beginning. Maybe $50-70 a page. When you get some
years under your belt, though, your page rate will go
up. Some professionals can get $250, even $500, a
page. Some artists get a flat payment per book with
royalties. Others are just paid off of their royalties. So
starting off, it might well be best to have a side job. But
stick with it and in a few years you could be able to
support yourself.
Any other advice?
What are your tips for a wannabe comic book artist?
Jake Parker: Be professional! Be honest. Do what you
said you would do. Meet your deadlines.
Nathan Fox: Never. Give. Up. Making comics a
profession is a long and daunting process, made more
challenging by the fact that everybody who draws and
has ever read a comic book wants to do it. It’s hard to
stand out from the crowd. So be patient, take advice
when it’s offered to you, listen to critiques, hone your
skills constantly and improve upon your weaknesses.
Al Davison: Meet your deadlines, always read the
small print before signing a contract, be courteous
and respectful to your editors and co-creators, while
sticking to your principles, never take the easy option
creatively, always stretch yourself, use each new job to
test yourself and improve your skills. Never believe
that you have ‘arrived’, just aim to enjoy the journey.
082-083_AVP_61_IndustryCareer.in83 83
MISSILE MOUSE COVER: Here’s the
cover art for Missile Mouse, which is a
on. Missile Mouse: The Star Crusher is
due out in spring 2010
© BY JAKE PARKER FROM MISSILE
MOUSE: THE STAR CRUSHER,
ALICE: Davison created this image
for his upcoming graphic novel
collection, Hokusai: Demons, which
is due out in October
© AL DAVISON
AKA THE ASTRAL GYPSY
How do I know if I’m up to speed? How
long should I spend on one piece of art?
Jake Parker “Industry standard is the ability to draw a page a day, which is
Comic book artist essential if you plan on doing a monthly comic in the future. Once
{
Blue Sky Studios you have 20 or 30 pages of sequential art, then shop it around”
WHAT OTHER
SOFTWARE
PACKAGES WILL
I BE USING?
In addition to Photoshop,
Illustrator is a great piece of
software to help with your
comic creations. If you can
afford it, then it is also a good
idea to invest in Wacom’s
Cintiq or another graphics
tablet – it will help you out
no end.
CA R EER FOCUS
Industry insight
How one artist got his
work on the pages of
comic books
Nathan Fox
Comic book artist
Freelance
“I got out of the undergraduate Illustration department
with ambition and drive, but no direction. I got fed up
and made up my mind that I would give it one last shot.
So my future wife and I sold everything and hiked it up
to NY for grad school and our careers. There, I got into
comics more and more, realising that what I was doing
in my illustration work and personal art had strong roots
in what comics and narrative art had to offer.
My roommates helped me get a few names and
emails about midway through grad school, so I started
pounding the pavement to see what might be possible.
One of the guys my friend Jim referred me to was Bob
Schreck at DC. Schreck was in charge of Batman titles
at the time and he liked my work, but couldn’t do a
damn thing with it. So I buckled down over the next few
years and kept at both it and Schreck, taking on
editorial freelance and gallery work but moonlighting
as a starving comic guy in-between. I got my first
printed 22-page comic in the original Edge (Tales From
The Edge) tenth anniversary issue. That showed enough
to Schreck and he let me have a go with other editors
on a Batman: Black and White short story and that got
me addicted. Comic work was off and on until a few
years ago when I got Fluorescent Black and DMZ . I’ve
been happily telling stories out of school ever since.”
Want to know more?
Some resources and courses to help you
get into the world of comic book art
Inspirational websites
www.penciljack.com / www.deviantart.com
Essential training
BA (Hons) Graphic Storytelling & Comic Art
Cost: £3,225 Location: UCA Farnham
Website: http://tinyurl.com/comicbookart/
Cartooning and Comic Strip Drawing and
Painting
Cost: £77 (£55 reduced fee) Location: Artlink, University
of Hull Website: http://tinyurl.com/hull-uni/
Must-have resources
Creative Photoshop CS4: Digital Illustration and
Art Techniques
Author: Derek Lea Publisher: Focal Press Price: £49.99
Website: www.focalpress.com
Comic Art Now: The Very Best in Contemporary
Comic Art and Illustration
Author: Dez Skinn Publisher: ILEX Price: £20
Website: www.ilex-press.com
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20/8/09 19:19:23
resources

BenQ Joybee GP1 mini projector

We put the projector power of this ergonomic, economic
display solution to the test
Manufacturer: BenQ
Web: www.benq.com
Price: £499/$499
About: 120 per cent NTSC and 100AL
15 to 80-inch image projection
in 4:3 native format
Lamp-free LED technology
Certified RoHS, WEEE and EuP

B enQ successfully sums up its latest

hardware, the Joybee GP1 mini
projector, in one friendly sound bite – ’Watch
Here, Watch There, Watch Everywhere’ –
which thoroughly justifies the functionality
of this charming and easily portable device.
In comparison with other market styles, the
BenQ Joybee GP1 mini projector is extremely
economic in size. The device can easily be
slipped into your satchel or bag, protected in its
sturdy material carry bag. Weighing in at a
lightweight 640g, the Joybee GP1 mini projector
is also easy to handle when demonstrating its
projector power to audiences. However, if this
sounds a little tedious then don’t worry. It comes
complete with tripod attachments for your
precise angling needs.
The device is very simple and unassuming in
design, and this means it appeals aesthetically to
a range of consumers, both creative and
recreational. Its black gloss top and blue LED-lit
options dial do give it a slightly sexy edge, which
means it wouldn’t look out of place in a design
studio environment. It’s also manufactured to be
environmentally friendly, which will please green
consumers. The Joybee GP1 mini projector has
SECURITY: A fingerprint reader can render your
laptop unusable by anyone except you, which is a
handy security feature
MATURE CONSUMER: The
Joybee GP1’s effortless plug-and-
play functionality does not require
a PC, making it a perfect display
device for on the move
HIGH PERFORMANCE:
Autoplay modes, auto
keystone, auto search and
Wall Color Correction get
content up and running fast,
while the integrated speaker
delivers instant digital sound
100 per cent mercury-free 3LED technology, as light green, blue and even blackboard. This
well as incorporating recycled materials to option is accessed directly from the device’s
assemble its packaging. It consumes 30 per cent Menu/Exit>Display options. However, you will
less power with its standby mode that’s less than need to remember that to activate the option
one watt. you must first have your image projecting, and
Whether you are uploading design or then you have to hold down the Menu/Exit
photographic imagery, this device delivers button for three seconds before this option will
enriched and impressive colour-accurate become active.
projections, undoubtedly attributed to the Size matters with this machine, and we were
machine’s 120 per cent NTSC and 100AL likewise impressed with its capacity to project at
technologies. Additionally, these make the really large scales – up to 80 inches in fact – with
Joybee GP1 up to 65 per cent more capable at seemingly crystal clarity. Its adjustable digital
delivering colours accurately than comparative
devices, which may deliver an average 55 to 80
per cent NTSC. This capacity to handle a broader “The Joybee GP1
gamut is extremely beneficial for those designers
who want to minimise any degradation when mini projector
presenting to clients; this projector certainly
picks out the bolder and more saturated colour
allows users to
tones throughout your design. project images
The Joybee GP1 mini projector also allows
users to project images to varying wall surfaces
to varying wall
by compensating with the Wall Color Correction surfaces with
option. This setting offers a set of five wall
colours to meet the demands of your
the Wall Color
environment. Types include light yellow, pink, Correction option”

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LET’S CONNECT: The detachable iPod/iPhone
docking station is available as a clever option, which
will really appeal to those looking to use the projector
as an entertainment device
zoom, preset picture PC and AV modes, and
most notably its LED-lit projector are key
contributors in making this possible. Couple this
high-resolution viewing with the mini projector’s
audio capabilities and animators will find that
they have an impressive all-inclusive
presentation system.
The integrated two-watt speaker will certainly
enrich both your own and your clients’
audiovisual enjoyment. Operating volume
controls is simple, using the built-in Menu/
Exit>System Setup: Advanced>Audio Settings.
BenQ’s Joybee GP1 mini projector is also a
preferable device for animating artists, as it’s
compatible with DAT, MPEG, VOB, AVI, MP4, MOV,
3GP and 3G2 file types.
Connectivity and compatibility are key selling
points of this device. The Joybee GP1 mini
projector is compatible with mass storage
devices, for example, digital cameras, personal
multimedia players, PDAs, iPods, iPhones and
smartphones. An entertaining extra is the
detachable iPod and iPhone docking station,
which will really appeal to recreational users. It
also comes standard with a set of connection
ports, including USB inputs and PC audio D-Sub,
composite and USB inputs, and multi-input
socket for RGB PC, component video, composite
video and audio input composite. This
accommodates a connection for hardware,
including notebooks, DVD players, television
boxes and gaming consoles.
It’s apparent that the Joybee GP1 mini
projector is an all-singing, all-dancing piece of
084-085_AVP_61_BenQGP1Review.ind85 85
projection hardware, which makes projecting
imagery a pleasure as well as extremely
professional. However, the device does have a
few minor setbacks, namely the AC adapter. The
machine is dependent on this to power up and
is not able to work independently from this. The
absence of battery power may make placement
of the device awkward due to the limitations of
the cord length. However, the sheer power of
the projected image resolution compensates
for this.
With the impressive ability of its core
technologies and accommodation of a vast
array of output devices, its suggested retail price
of £499 (or $499 in the US) seems a worthy
investment. Travelling professional designers
can use the GP1 and USB reader in a variety
of situations, for instance corporate videos,
digital portfolios in JPEG format at job interviews
or a spur-of-the-moment projection section
to friends and audiences in the lounge, local
coffee shop or even the smallest meeting room.
The BenQ Joybee GP1 mini projector is a
machine that is small in size but big on
economy and performance. 5
SUMMARY: The Joybee GP1 mini projector
proves that good things come in small
packages. It’s a consumer-conscientious
product, which delivers crystal clear large-
scale images and maximises your
9/10
animation display capabilities.
resources
The BenQ Joybee
GP1 mini projector
remote control
Make your operation
remotely more pleasurable
Manufacturer: BenQ
Web: www.benq.co.uk
About: USB reader keys controlling
functions and menus
Source and arrow keys let
you scroll through
connected multiple devices
Mode button lets you scroll
through several predefined
picture modes to suit your
operating environment
SOUND CONTROL: The
Joybee GP1 mini projector's
remote control's arrow keys
can also be used in a
standard remote function,
increasing and decreasing
audio volumes
BenQ's Joybee GP1
mini projector remote
control helps users
apply projector
functions far more
efficiently, maximising
the delivery of your image display. There
are a few operations that users should
know about so that they can utilise this
tool correctly.
The Joybee GP1 mini projector remote
works with an infrared sensor, located on
the front of the projector. To make sure
that interaction is ultimately responsive,
you must hold the remote at an angle of
30 degrees perpendicular to the sensor.
The operation distance limit between
projector and remote is very good, set at
seven metres (23 feet).
The remote also allows you to set the
tempo of your projection sessions with
several inclusive keys. Freeze will do
exactly that, offering audiences and clients
the ability to scrutinise the images they
are interested in. The Blank button lets you
momentarily clear the projection, drawing
the audience’s full attention. Pressing any
other button will reveal the image again.
Image adjustment is also possible with
both Auto and Keystone keys. The first,
when pressed, will automatically readjust
and optimise the picture quality if there is
any interference. The Keystone keys, or
remote arrow keys, are applicable when a
projector image is noticeably wider at
either end, horizontally or vertically. This
occurs when the machine is not vertical to
the screen, and these buttons help you to
manually compensate.
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resources
e-pens Create
Poor man’s graphics tablet or handy portable pen input? We find out
Manufacturer: e-pens
Web: www.e-pens.com
Price: £59.99 ($99 approximately)
Req: Windows 2000, XP SP2 or Vista
50MB hard drive space
32MB RAM
USB port
800 x 600-pixel screen with 16-
bit colour
Internet Explorer 4
W hen it comes to digital products for
inputting artwork using a pen-like
device, our minds naturally turn to the
graphics tablet, but there are other options
out there that are designed for the same task
but in a different manner. e-pens Create is
one of these products.
Years of experience with IT equipment has
taught us to be wary of HID (human input device)
gadgets that combine stylus functions with
actual ink. Despite the hand-drawn fluidity users
can achieve with a graphics tablet and stylus, it’s
very different to writing and drawing with a pen.
This executive ballpoint-styled HID can be
used with both standard pen and stylus
functionality, and it’s the former that holds the
only real problem it encounters. A small,
unobtrusive bulldog-style clip holds a wireless
receiver that picks up what the pen is doing. Clip
it to your paper and you can take physical notes
and digitise them at the same time.
That’s the theory, anyway. In practice, we
found that you can either write neatly on your
paper and create infantile scribble on your screen,
or write neatly on screen while your notebook
starts to look like a small child’s homework,
produced grudgingly while Doctor Who is on. This
isn’t necessarily the fault of the unit – the fact is
that we write and draw very differently with the
fluidity of ink and the slight resistance of soft,
TWO PARTS: The package comes with a
wireless pen and USB receiver
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STYLUS: As effective as a tablet stylus when
used in this way for editing images
smooth paper beneath our hands than we
do with the hard, smooth firmness of, say, a
Wacom tablet. If note taking is what you’re
looking for, then the standard e-pens Mobile
Notes device is better suited. This is the Create
version, after all.
Switch from a rollerball tip to a standard
stylus and use the product with Adobe
Photoshop, Corel Painter, Autodesk Sketchbook
Pro or the supplied OEM version of Serif
DrawPlus X2, and you’ve got a perfectly
functioning graphics tablet in your hands, as
long as you’ve got a smooth enough surface for
it to track across. Pressure sensitivity has
nowhere near as many grades as high-end
tablets but is reasonably good, tracking dpi is
configurable to a suitably fast standard, while
jitter and lag are minimal. A readable area that’s
A4 in size means you can get to grips with large
Photoshop images.
It’s handy for making on-screen touch-ups
to photos, for example, or for hand-drawing
“You’ve got
a perfectly
functioning
graphics tablet
in your hands, as
long as you’ve got
a smooth enough
surface for it to
track across”
PORTABILITY: Light, portable solution,
making it a good alternative to a graphics
tablet for use on the move
illustration and digitally colouring them in
Photoshop. While it takes some getting used to,
as do all input devices, it’s actually quite effective
at its intended job.
It’s a shame that at the moment it only comes
in a PC flavour, as many creatives use Macs for
their work. Still, with so many laptops running
Windows, it will attract a good proportion of
these users. This is where it really comes into its
own – on-the-move artwork and editing without
having to lug around a graphics tablet.
As a portable solution to accompany a
laptop, it’s great for on-the-road digital
sketching and artwork touch-ups. We’d never
give up our graphics tablet for one of these, but
as an accessory for a laptop, then it’s certainly a
nice option. 5
SUMMARY: Excellent for photo editing
and artwork touch-ups, the inking
functionality is probably best left well alone,
but this is a comparatively cheap and
portable stylus device for Photoshoppers on
8/10
the road.
20/8/09 19:26:26

Mystical Tint Tone and Color 2.0
Auto FX’s new and improved software, with enhanced options to maximise your photo effects
Manufacturer: Auto FX
Web: www.autofx.com
Price: $249 (approximately £152);
upgrade $129
(approximately £79)
Req: Mac OS X (all versions)
Windows 2000/XP/Vista
Plug-in supports Adobe
Photoshop 7 onwards
Also includes standalone
application version
M ystical Tint Tone and Color 2.0 is the
latest filter effects software from Auto
FX. It’s designed to quickly and efficiently
capture the perfect mood in your shots, while its
new, extended production-oriented options are
geared to guarantee maximum aesthetics in
your photographic projects. But does Mystical
Tint Tone and Color 2.0 really deliver and how
does it apply to other design groups working
with photo stock?
First, the software’s interface is unassuming,
but this means it’s geared up to offer creatives
total focus on image effects and there are
certainly plenty of these. Mystical Tint Tone and
Color 2.0 includes over 300 presets. These are
instantly applicable from the Select Layer Preset
options at the top of the workspace. These apply
the best effects across a range of photographic
methods, including smoothing, tonal effects and
HDR filters.
Each preset includes drop-down options,
extending the style range. For example, activate
Sharpening and access the drop-down option to
choose from Contrast, Posterize and Detail.
However, they can only be applied individually,
but users can build upon preset effects, or even
create all-new styles using the software’s Select
Effect options. From here, you can choose from
Color Effects, Tonal Effects, Smoothing, Tinting,
Lens Filters, Sharpening, Special, Portrait and
HDR Filters.
COMPARE EFFECTS: The new before/after preset
previews and an Original button allow users to
compare and evolve their understanding of effects
087_AVP_61_Software.indd 87
Unfortunately, when applying there’s no
indication of how these effects perform, like in
the preset window. Enthusiasts who choose to
invest in the software may find its option
interface quite manic and will achieve results
through experimentation rather than clear
understanding. This emphasises that the
software is aimed at professional photographers.
But this is a little conflicting, as the effects
applied are more cinematic than photographic,
which will tempt artists producing
photomanipulation projects.
This said, the software does offer a host of
intuitive tools and layer functionality. After
applying a Mystical Tint Tone and Color 2.0
effect, it appears in a titled layer. The effect
strength is then determined by simple slidebar
functions and applied brushes. These work in a
mask capacity. You can adjust Size, Opacity and
Feather, as well as select varying brush styles,
which give you precise control over the resulting
outcomes. All this lets you combat confusion by
editing and acclimatising to effects personally.
The scope of the software’s creative capability
is reflected through these tools, as each effect
has its own specific set suited to creating the
best possible results. Also, when you update one
layer the others all regenerate dynamically and
nondestructively, creating intuitive harmonised
effects. The brush-on and brush-off tools are
great for delicate working processes, such as
isolating areas and applying quick softening and
resources
SKIN RETOUCHING: New portrait filters help you
improve skin blemishes and colour, accentuate eyes
and lips, hair and other facial attributes
HIGH DYNAMIC
RANGE EFFECTS:
The brand-new HDR
filters really allow
for an enhanced,
contemporary look,
and can be
selectively brushed
to form attractive
outcomes
sharpening, and brush shortcuts co-ordinate
with Photoshop’s.
It has become apparent that the software
does allow you to capture the perfect mood
efficiently. However, it’s less forthcoming on its
promise of quickness. Mystical Tint Tone and
Color 2.0 doesn’t generate effects live, and with
each edit applied with presets, Select Effects
options and toolsets, then a loading time applies.
The more layers you have, the longer it takes for
effects to render. However, after you have
finalised an effect, it can be saved and run as a
preset. This is great for photographers looking to
batch-edit images. 5
SUMMARY: Overall, we wouldn’t say that
Mystical Tint Tone and Color 2.0 applies effects
as quickly as we’d expect, but it certainly
allows you to explore and create stunning
effects through an impressive extended
7/10
option set.
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20/8/09 19:27:25
resources
Draw and Paint Fantasy Females
Discover the key creative factors for capturing female allure with this latest Impact fantasy-based book
Author/Publisher: Tom Fleming/Impact Books,
David & Charles Limited
Web: www.impact-books.com
www.davidandcharles.co.uk
Price: £14.99/$22.99
About: 128 pages of extensive creative techniques
Detailed step-by-steps
Core techniques in rendering concepts
Practical guidance on capturing form, facial
expression and costume
Professional teaching from industry giant
Tom Fleming (DC and Marvel Comics)
S exy cyberpunks, Amazonians and fair maidens litter
the realms of fantasy fiction. Such sirens are a big selling
point, ultimately a hit with fans of the genre. Depicting such
alluring characters, by capturing essence as well as pose, takes
great dedication. Now you can discover how to muster this with
a little help from Impact Books’ latest creative resource, Draw &
Paint Fantasy Females.
You should be aware that no digital application appears in
this title. Draw and Paint Fantasy Females is 100 per cent
unadulterated, presenting only traditional methods. However,
this really shouldn’t deter digital artists. This book includes
creative as well as practical sections, such as which specific
drawing and paint supplies are essential when creating the best
drawing and painting effects. These all allow you to really get to
Digital Textile Design
Take your textile design to the next level with a little digital development
Authors/Publisher: Melanie Bowles and Ceri
Isaac/Laurence King
Publishing
Web: www.laurenceking.com
Price: £22.50/$35
About: 23 tutorials on commercial effects
Includes over 180 full-colour pages of
design examples
Richly illustrated with more than 300
photographs and screengrabs
Explores both traditional textile and digital
print to fabric production
G raphics and illustration are two disciplines that have
firmly taken up the torch of digital media and ran with
it. But the world of textile design is hot on their heels. From
clothing to interior design, we now see the industry and
consumer market suffused with wonderful, engaging fashions.
Digital Textile Design helps you realise the latest trends and
allows you to replicate creative techniques.
With over 300 photographs and screengrabs, this title offers
an extremely aesthetically gratifying, as well as informative,
experience. The book represents the latest adoption of digital
media by textile artists and the capacity of their design
capabilities through a serious of in-depth tutorials. These
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088_AVP_61_Books.indd 88
Inclusive creation: This title shows how to build fantasy female
characters from scratch, demonstrating the basics of anatomical
structure and how to use both drawing and painting media effectively
grips with conventional application, which can always be
translated digitally at a later stage. It’s essentially a title aimed at
artists who want to improve.
Chapters are in an apparent order, letting you evolve your
understanding coherently. Key shading, blending and texture
techniques are revealed through drawing and painting
swatches, as well as extensive advice on how to source, build
and work from photo reference libraries. Tom Fleming, high-
profile artist and author of this title, also reveals some of his
personal methods, including how to apply sponge techniques
and create smoky hair effects.
Subsequent chapters include character building, presenting
core creative areas such as pose, facial expression and skin tones.
Hair and Costume is also included, addressing the decorative
nature of conception, such as the effects of make-up, jewellery
and weaponry. All techniques capture the female allure, which is
essential when creating authentic fantasy females. Summary: We’re not sure that this title
The book then moves on, delivering intense character-based will build your painting skills from
sections. Fairies, warriors, goddess and sorceresses are all scratch, but it will let enthusiasts obtain
presented, from preliminary sketches through to washed base further knowledge and realise more
colours and fleshing techniques. Thanks to the expert step-by- professional techniques.
steps with coloured thumbnails as guidance, artists can really
evolve their skills at their own pace, the professional way. 5
7/10
address production by traditional means, mixed with Adobe
Photoshop and Illustrator application. There are 23 in total.
Tutorials are presented in a tried-and-trusted step-by-step
format, each and every one punctual. This means that teachings
are quick and easy to grasp as well as apply, with coloured
thumbnails relating Adobe software palettes and options, along
with image effects. Those with a grasp of the software and a
passion for textiles will be enthused straight away.
An eclectic mix of techniques is revealed across the
application spectrum, from colour editing with Photoshop’s
adjustment options and filter effects to 100 per cent digital
generation. Some quick, easy and commercial effects include
Learn from experience: Authors Melanie
creating the eternally popular Gingham pattern, placing print
into context with graphic silhouettes and building brush
palettes to rapidly apply design patterns.
Bowles, senior lecturer in Digital Textiles at
Chelsea College of Art and Design, and Ceri Isaac,
research fellow at London College of Fashion,
bring a wealth of knowledge to this title
The practical nature of textile design is not lost in this title
either, with many tutorials addressing production factors such as Summary: Digital Textile Design is a
appropriate colour palettes, texture mapping and how to rich creative title, which provides
engineer a print onto a garment shape using Photoshop. maximum productivity. Textile lovers will
The book’s chapters also include topical pages, presenting enhance their application and invention
subject matter about industry rules and rituals. These include skills through craft embellishment as well
new fashion illustration techniques, discussing a host of textile
9/10
as development.
print technologies and the commercial viability between
traditional and digital methods. 5
20/8/09 19:28:42
 Order Now! t ion
a l ed i
ig it
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The Premium Collection Volume one

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EXPERT STEP-BY-STEPS
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Be inspired for your ownselection professionals. You ca n follow
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The team at iLoveDust their design this finish using
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Order online now!

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Telephone +44 (0)1202 586200

089_AVP_61_DigitalBookHouseAd.in1 1 20/8/09 19:31:05

 I N! ’s
W ar ion
e
t
A sycrip
su b t o
GALLERY We showcase the very best of your artwork “Generally
speaking, my
artwork can be
a bit of a
multilayered
affair, but I
always try to
make good use
of negative
space and
strong colour”
Ben Thomas
Readers’

DREAMING IN RED, DREAMING IN BLACK:

“Just a nice dreamy piece of artwork, a little bit tripped
out and sticking to a strict colour palette”

Ben Thomas
WEB: www.ben-thomas.com

r im a gne, s
it yo u for inclu ioction of
s “I’m a British digital artist and
b m
Suo be considemaidl with ap@seilemaginep-tions
e r e photographer. I’ve been working
on small projects for various
T d a n ncedpsho s a nd ca . We
e s en le independent publications and
plea s es to adv a clud i ng t it 0 -word bio ages record labels for the last three
i mag .co.u k , i n el l a s a 15 solut ion i m es years. 2009 has been the first year
s h i ng as w er-re i m ag
pu bl i e i mages , u for h igh r. En su re d T I F Fs I’ve properly tried to promote my
t h y o e a s e
for ck to en to app compres a n a l so
et b a s n c work on the internet. Generally
w i l l g u a re cho s 300dpi u u m . You for mat ion speaking, my artwork can be a bit
i f yo i la ble a i n i m h t he i n
va c m m it ag i ne
a re a Ds , 15 x 15 on a CD w toshop, I m of a multilayered affair, but I always
r P S g e s P h o s e , try to make good use of negative
o i ma c e d o nd Hou t h ,
The Best in y ou r dv a n
send i red to A ng, R ich m u r nemou space and strong colour. My
Show winner req u sh i , Bo
P u b l i mo n d H i l l 2 6 E Z , weapons of choice are Photoshop,
each month h
33 R ic Dor set , i ngdom
B H Illustrator and CINEMA 4D.”
gets a fantastic Un it e d K
prize. This month’s : “I had or hiteiginally
ALL ODDS
winner receives a AGAINST ece for a small black-and- azine
w
year’s subscription to created this
pi the mag
e theme of
n in Tel Aviv. Th about a soldier diving
Advanced Photoshop publ icat io
e image is
was Hero. Th first into his final show
down!”
head
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 BEST
IN SHOW

LOVE LIFE DEATH: “I had been obsessed with doing

a really cool piece of artwork with a skull for a while.
Rather than just plough straight in with something that
looked morbid, I wanted to create something with a taste
of beauty thrown in for good measure”

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 Readers’ gallery
System of a Soul: “I wrote
the lyrics for this image myself. Is
our soul the sum total of chemical
reactions in the brain? I really
wanted to create an ethereal look
“The impossible with the lighting on this”

landscapes and
strange figures
of the Surrealist
movement
spoke to my
imagination,
and imagination
is the window Graeme
that we view the McAllister
real world Web: www.graeme-art.co.uk

through” “I’m a practising artist and designer

Graeme McAllister based in the city of Newry in Northern
Ireland. I have always been particularly
inspired by the Surrealist movement
and fantasy art. The impossible
landscapes and strange figures of
the Surrealist movement spoke to my
imagination, and imagination is the
window that we view the real world
through, after all. I enjoy combining the
technical thinking process involved in
using Photoshop with the imaginative
concepts of the images themselves.
This method of working quite often
guides the subject matter I explore,
as much of my work is about man’s
endeavours to combine the material
and spiritual worlds. My visual poetry
takes these ideas a stage further,
giving the written pieces and imagery
more depth and power than they could
achieve in isolation. I am planning to
release a book of illustrated poetry in
the near future.”

Adam: “We are all shaped by external

forces in one way or another. I used a fractal
program for this, asking myself what would
happen if two of my favourite artists, Escher
and Alex Grey, got together”

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 Jelly: “Jellyfish are strange
creatures – scary and beautiful at
the same time, mysterious and
always nearly see-through. This
image is a mixture of CINEMA 4D
and Photoshop, created with lots
of different layer blending modes
to create the glass look”

Claudia Hahn
Web: www.heliocyan.com

“I was born in Germany where I studied

Graphic Design and Illustration. I now
live in England where I have recently
started work as a freelance designer and
illustrator. I have always been inspired
by fantasy and science fiction literature.
For years I used to illustrate and paint
in traditional media – mainly oil, acrylic
and pencil – and I used Photoshop only
to retouch photographs and to clean up
images I had drawn by hand.
It was only fairly recently I discovered
Photoshop for completely drawing in
digital. For me, this means I can be much
more adventurous in the way I work,
Ru ssia: “To achieve trying out different colour combinations
look of this imag the old Russian and styles, as I can always go back to
e, I limited the co
range to mostly lou a previous version. I love to include
warm browns an r
reds. For the tor d
n borders and the textures I have scanned, such as old
worn backgroun
d, I wallpapers or sweet wrappers. As
Message
an transparency pa ripped a piece of
represents th d Meanin per, crumpled it
reference for my pictures, I try not to use
meant. Dee e duality g: “This imag scanned it. The
letters were tak
and
per meaning of what is said and w e the Russian post en from stock photos but my own photographs;
s can be foun hat is service logo, wh
conversatio the star is from ile
ns if we read d in the simplest a book on old ba I think it would frustrate me if I saw the
between th dges”
e lines” same reference picture in someone
else’s artwork.”

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 Readers’ gallery

What you can win…

Each month, one of
the featured artists is
selected as Best in Show.
This artist will win a
fantastic prize**. This
month, the lucky winner
will receive a year’s
LNS: “The image is one of a lonely girl. Struggling to subscription to Advanced
balance the demands and expectations that life and Photoshop magazine.
society place on her, she withdraws to find comfort and
security in her own company” That’s 13 issues of this
title delivered to your
door each month.
IZN: “Inspired by rea
wanted to evoke ding a lot of Zen
a sense of peace and Taoist literat
and quiet contem ure, I
final image took platio
the form of an orc
e worlds ar
ound us beautiful flower,
interpreted throu hid, to me a simple n. The
inated by th nce. With gh abstract forms but very
E: “I am fasc to us by scie
MICROLIF e but that are revealed e to try and
and patterns”
t se s, I lik
that we don’ nthetic abstract form ar, and I love the fact
d sy ap pe
organic an ld s m ig ht eams!”
w these wor beyond my wildest dr
imagine ho H
RT *
th e re al ity is

8
that I’m sure
O

Benjamin White
THE MOVEMENT: “I am
exploring the American
hippy era as the subject for a
W
£7
WEB: http://nuvolume.com/ series of pieces that display
my understanding of that • One year’s
“I have done a variety of jobs from
construction to retail, but I have always
particular movement”
worth - 13 issues
managed to find some time, however small, - of Advanced
to pursue art and design. My portfolio Photoshop
at http://nuvolume.com/ is an attempt
to channel that perennial passion into
something more formal.
• Delivered directly
I’m currently concentrating on vector
to your door
illustration in my portfolio, but I’m also
fascinated by other fields, such as • Get it before it
generative art and typography. hits the shops
I think the modern union of code and
creativity found in generative approaches
is hinting towards a new viewpoint of art,
• Worth £78*
and it’s something I hope to explore more
in my personal work. Terms and conditions
Online communities are a constant By submitting images to Advanced
Photoshop’s Readers’ Gallery, you hereby
source of inspiration and motivation to me, grant Imagine Publishing and, if relevant,
especially for the more experimental and clients to whom the relevant work has
abstract styles that don’t often filter through been provided, an irrevocable, perpetual,
into the commercial domains. royalty-free licence to use such intellectual
property in relation to work similar or
There is an astounding amount of talent equivalent to the work. This includes the
and creativity out there, and I am in total right to showcase work on multimedia
admiration of it.” formats. By submitting work, you also
confirm that your images do not infringe
any copyright regulations should they
be published.

94 * Based on UK cover price of £5.99 an issue

Advanced Photoshop **Prizes change frequently

090-094_AVP_61_ReadersGallery.in94 94 20/8/09 19:38:26